Queensland Ballet Archives

West End Coffee Roaster Wins Trademark Dispute Against Sydney Bakery

Photo Credit: Blackstar Coffee Roasters/Instagram

A West End coffee roaster has secured victory in an eight-year trademark dispute against a Sydney bakery over the use of the “Black Star” name in coffee sales.

Background to the Dispute

Blackstar Coffee Roasters, established in West End in 2007, registered its “Blackstar” trademarks in 2008 and 2009 for coffee-related goods and services. The business began roasting from an old football club shed before opening its first store in a West End back street in 2008, building a local following through wholesale supply and market sales.

Black Star Pastry, launched in Sydney’s Newtown in 2008, initially operated as a bakery but later began selling coffee beverages and branded coffee. In 2018, the business was acquired by a hotelier, leading to expansion into Melbourne, Chatswood, and a flagship store in Shanghai in 2022. All three Melbourne outlets closed in 2024.

West End coffee — Photo Credit: Blackstar Coffee Roasters/Instagram

Court Findings

On 1 August 2025, the Federal Circuit and Family Court of Australia (Division 2) found that Black Star Pastry had infringed two of Blackstar Coffee’s registered trademarks. The court determined the bakery used the “Black Star” name in connection with coffee despite lacking trademark approval for café services and after consent was refused by Blackstar Coffee.

The judgment noted that Black Star Pastry continued to use the name in its coffee-related activities knowing it had failed to secure permission and trademark registration.

Business Standing

Blackstar Coffee Roasters now operates from a roastery in East Brisbane, supplying wholesale clients and maintaining a retail presence. The business focuses on specialty-grade beans, ethical sourcing, and industry training, continuing to expand its wholesale network.

Next Steps

The case will return to court on 11 September 2025 to finalise the terms of an injunction, which is expected to limit Black Star Pastry’s ability to use the “Black Star” name for coffee.

Published 12-Aug-2025

Queensland Ballet’s Newborn Giants Brings Innovation to Thomas Dixon Centre

Photo Credit: Queensland Ballet/Facebook

A groundbreaking new dance performance is turning heads at Brisbane’s Thomas Dixon Centre, where Queensland Ballet is staging Newborn Giants, a bold and boundary-pushing piece that brings the lived experience of blindness into the heart of choreography.

Reimagining How Dance Can Be Felt

Newborn Giants, running from 31 July to 9 August at the Talbot Theatre, is a 25-minute ensemble work created by Canadian choreographer Robert Binet in collaboration with blind academic and theatre artist Devon Healey.

*Photo Credit: Queensland Ballet/Facebook*

This unique piece explores the intersection of visual and non-visual experiences of movement. Healey contributed voice recordings called Immersive Descriptive Audio (IDA), guiding audiences through the dancers’ physical and emotional states, rather than explaining the steps.

The narration was integrated from the start, not just added later for accessibility, offering a fresh perspective for both blind and sighted viewers. The work challenges traditional notions of dance, providing a new sensory experience that emphasizes sound, emotion, and intention.

A Contemporary Program Built on Risk

Queensland Ballet’s Bespoke season has built a reputation for offering risk-taking, contemporary works that challenge expectations. This year’s lineup includes three world premieres, with Newborn Giants sitting alongside pieces by Amelia Waller and Yolande Brown.

Binet spent five weeks in Brisbane working with 13 dancers from the company. He chose performers across a wide range of ages and styles, aiming to create a sense of diversity in movement. The piece asks dancers to focus on how movement begins in the body, questions like where they feel tension or where a gesture starts, rather than how it looks from the outside.

West End at the Centre of Innovation

The Thomas Dixon Centre, located in Brisbane’s West End, has become a creative hub for Queensland Ballet’s evolving vision. Hosting the Bespoke season in the Talbot Theatre offers audiences an intimate setting to connect with the performers in new ways.

For local audiences, Newborn Giants offers something rarely seen in mainstream ballet: an invitation to slow down and listen closely. It encourages viewers to notice what can’t be seen, making it as much about awareness as it is about movement.

A Different Kind of Access

The show sets a new standard for inclusive art by embedding accessibility into its core, with Healey’s poetic and expressive audio contributions deeply intertwined with the choreography.

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Queensland Ballet’s decision to present this project reflects its commitment to innovative, meaningful dance.

The performance offers a powerful reminder of how art can shift perspectives by telling stories from multiple viewpoints. It highlights the potential for dance to be experienced in new, inclusive ways.

Published 25-July-2025

Queensland Ballet Begins New Chapter Under New Artistic Director Ivan Gil-Ortega

West End’s Queensland Ballet has entered a new chapter with the appointment of Ivan Gil-Ortega as its artistic director. The Spanish-born dancer and choreographer steps into the role following the unexpected resignation of Li Cunxin, who led the company for 11 years and placed it firmly on the world stage.

Read: Queensland Ballet Studio in West End Opens Doors to Aspiring Male Dancers

Gil-Ortega brings a wealth of experience, having spent a decade as a principal artist with Stuttgart Ballet (1997-2007) and a season with Dutch National Ballet (2007-2008). His career has seen him perform in numerous acclaimed productions and collaborate as a guest artist with prestigious ballet companies worldwide, including Ballet of Santiago de Chile, Bayerisches Staatsballett, Finnish National Ballet, Croatian National Ballet, and West Australian Ballet, among others.

Ivan Gil-Ortega — Photo credit: Queensland Ballet/Facebook

Having previously performed with Queensland Ballet in its sellout Strictly Gershwin seasons in 2016 and 2023, Gil-Ortega is no stranger to the company. Now, as artistic director, he is looking ahead to shaping its future. While the 2025 season, including Romeo and Juliet (March) and Dangerous Liaisons (October), is already set, he is working on his vision for 2026.

He described this transition as a fresh start, emphasising the importance of looking forward rather than dwelling on the past. He expressed optimism about what the company could accomplish in the coming years.

Gil-Ortega aims to build on the company’s strong foundations while balancing artistic ambition with financial sustainability. He is also keen to attract younger audiences, supporting initiatives like Peter and the Wolf, which will be performed at Queensland Ballet’s West End home in June.

Read: Collectivo Brings Chamber Music Innovation to Thomas Dixon Centre, West End

Having spent recent years in Switzerland, he is now settling into life in Brisbane. The company has welcomed him warmly, presenting him with a toy kookaburra, a book on dangerous Australian creatures, and a jar of Vegemite. Ivan Gil-Ortega acknowledged the warmth of his reception and is embracing the start of his four-year tenure in Queensland.

Published 26-February-2025

Collectivo Brings Chamber Music Innovation to Thomas Dixon Centre, West End

Photo Credit: Thomas Dixon Centre

Brisbane’s chamber music scene welcomes a fresh and dynamic addition as Collectivo, a new ensemble founded by renowned oboist Tania Frazer, prepares to launch its 2025 concert series at Queensland Ballet’s Thomas Dixon Centre in West End.

Designed to offer a boutique, salon-style experience, the ensemble will feature a rotating lineup of virtuoso musicians performing in an intimate setting.

A Vision for Intimate and World-Class Chamber Music

Unlike traditional fixed ensembles, Collectivo brings together exceptional artists from across Australia and New Zealand in unique collaborations for each performance. Ms Frazer’s vision, described as “where artistry meets intimacy,” aims to give audiences an up-close experience, with seating just metres from the performers.

Collectivo Thomas Dixon Centre — *Photo Credit: Collectivo/Instagram*

Set in the Charles Lisner Studio at the Thomas Dixon Centre, the venue’s acoustics and intimate atmosphere provide an ideal space for chamber music, enhancing both the sound quality and audience connection.

2025 Concert Series Lineup and Program

The 2025 season will feature four concerts, each showcasing a different selection of artists and repertoire:

Concert 1 – “Tree of Life” (March 15)
Concert 2 – “The Troubadours” (July 26)
Concert 3 – “Timeless Voices” (September 13)
Concert 4 – “The Garden of Dreams” (November 1)

The inaugural concert, “Tree of Life,” will include:

Andrew Haveron (Sydney Symphony Orchestra Concertmaster)
Eden Shifroni (2024 IFAC Handa Australian Singing Competition winner)
Vatche Jambazian (pianist)
Rachel Siu (cellist)
Tania Frazer (artistic director & oboe soloist)

Future performances will welcome other high-profile musicians, including Slava Grigoryan, Satu Vänskä, Emily Sun, Amalia Hall, and Paavali Jumppanen.

Frazer’s Creative Freedom and Expanding Repertoire

Having previously led Southern Cross Soloists and Bangalow Music Festival, Ms Frazer sees Collectivo as a chance to pursue artistic freedom and innovation. Unlike government-funded ensembles, Collectivo operates independently, allowing Ms Frazer to curate performances without external constraints.

Collectivo chamber music — *Photo Credit: Collectivo/Instagram*

Her passion extends to expanding the oboe’s repertoire, incorporating works not traditionally played on the instrument. One of her personal challenges includes tackling Artie Shaw’s clarinet concerto, a piece requiring octave glisses and extended high notes, techniques rarely explored by oboists.

Ticketing and Subscription Options

With limited seating, Collectivo offers exclusive subscription packages:

Four, Three, or Two Concert Subscriptions with savings on single ticket prices.
Single tickets also available for each concert.

BUY TICKET

For accessible seating and ticketing enquiries, audiences can contact (07) 3013 6666.

Each performance lasts approximately two hours and 10 minutes, including a 20-minute interval, and is suitable for all ages.

With its debut set for 15 March 2025, Collectivo is poised to redefine chamber music experiences in Brisbane. Offering world-class talent in a uniquely intimate setting, the ensemble is set to become a standout addition to West End’s vibrant arts scene.

Published 26-Feb-2025

Queensland Ballet Studio in West End Opens Doors to Aspiring Male Dancers

Photo Credit: Queensland Ballet

Queensland Ballet is stepping up to address the dwindling numbers of boys in ballet, launching a series of initiatives under the banner of The Ballet Boys Project.

This move comes in response to a concerning 36% decline in male enrolments at the Queensland Ballet Academy since 2020, a trend mirrored across the global dance training landscape.

Queensland Ballet’s Executive Director, Dilshani Weerasinghe, underscored the company’s commitment to tackling this issue head-on, recognising its potential impact on the sustainability of the art form. She encouraged the dance community and beyond to join this movement to ensure the tradition of ballet, while constantly evolving, continues to thrive with solid male participation.

The company has formed The Boys in Ballet Committee to pinpoint obstacles and take decisive action. As its first move, Queensland Ballet is rolling out free weekly classes for boys aged 11 to 14 at their West End headquarters and the Kelvin Grove Academy.

The head of Academy Operations, Gabrielle Johnston, reported a positive response to the initiative since its mid-July launch. She explained that the initiative aims to remove barriers, and boys from all over have come to these classes, which are focused on male-specific ballet techniques. The aim is to foster a unique opportunity to bring together boys enjoying ballet in the community sector.

The programme offers a range of benefits, including specialised training, mentorship from professional male teachers, and the chance to build a supportive network of like-minded peers. To further mark the launch, male dancers within the company shared their journeys into ballet, highlighting diverse paths and motivations.

Queensland Ballet’s annual giving day took place on 8 August this year. All funds raised were directed towards the Academy and nurturing the next generation of artists. Thanks to generous matching donors, donations will be quadrupled.

Boys interested in the Ballet Boys classes can register online at the website.

Published Date 09-August-2024

Bunker Barre in West End: From Bomb Shelter to Culinary Haven

Photo Credit: Queensland Ballet

The Bunker Barre is a novel dining establishment built from the remnants of World War II bomb shelters located beneath the Queensland Ballet’s Thomas Dixon Centre in West End. The Clark Family generously supports this project, which combines innovation and preservation.

The meticulously restored bunkers will retain their original brickwork, creating an intimate and evocative space.

A Pre- or Post-Show Retreat

Bunker Barre in West End: — *Photo Credit:* *Queensland Ballet*

This underground haven is set to entice visitors with a curated menu of food and drinks, serving as an inviting pre- or post-show retreat for ballet-goers and curious epicureans alike. While exact culinary details remain under wraps, the Bunker Barre promises a distinctive experience.

Revitalising the Thomas Dixon Centre

The Thomas Dixon Centre in West End underwent a more comprehensive revitalisation under the direction of renowned architect Conrad Gargett. This holistic approach aims to weave a vibrant tapestry of artistic and communal spaces, deeply anchoring the venue within the local landscape.

More than just a restaurant, the Bunker Barre symbolises resilience and re-imagination. It’s a nod to Brisbane’s past, a toast to its present, and a delicious glimpse into its future.

Details of the opening of Bunker Barre are still kept underwraps.

Published Date 30-July-2024

Queensland Ballet Returns to the New Thomas Dixon Centre

Queensland Ballet has returned home to the heritage-listed Thomas Dixon Centre in West End. The building has just completed a multi-million-dollar renovation which commenced in August 2019.

Queensland Ballet returned to its home for the past three decades in July 2022, celebrating the opening of the brand-new Talbot Theatre with its season opener, “Bespoke.”

The new theatre is part of the $100-million redevelopment of the Thomas Dixon Centre.

Aside from the new, 350-seat Talbot Theatre, the 110-year-old building now boasts six dance studios, a costume workroom, a wellness centre, a gym, and stunning public art.

It also features Kite Terrace, a rooftop bar that offers amazing city views and a central promenade.

“The redevelopment of this historic building is a truly transformational moment for the arts in Brisbane. More than an incredible home for Queensland Ballet, the new Thomas Dixon Centre – as a centre for culture and community – will impact the Brisbane artistic landscape for years to come.” – Queensland Ballet’s fifth Artistic Director, Li Cunxin AO

About Thomas Dixon

Thomas Coar Dixon was a leather tanner who arrived in Australia in 1866 from Yorkshire, England. He then moved to Queensland in 1869 from New South Wales and established a small tannery in Hill End (now known as West End) in 1873. He also went on to purchase the land on which his tannery sits.

Thomas Dixon Centre with plaque that reads “Established 1873” | Photo Credit: Thomas Dixon Centre — Thomas Dixon Centre with plaque that reads “Established 1873” | Photo Credit: *Thomas_Dixon_Centre* / thomasdixoncentre.com.au

In 1906, Dixon purchased the land bounded by Montague Road, Raven Street and Drake Street to establish a new factory. He commissioned architect Richard Gailey to design the two-storey red brick building.

The factory is now known as the Thomas Dixon Centre. It opened on 11 April 1908. Dixon died a year later.

Upon Dixon’s death, his sons took over and continued the business which was later registered as Thomas C. Dixon & Sons Limited. In 1973, the business moved to Wacol where it faced tough competition from cheaper vinyl imports and then closed down after seven years.

The Queensland Government acquired the centre in 1975 and converted it into a storage facility. The building then underwent refurbishing in 1991 to serve as the home of Queensland Ballet, Queensland Philharmonic Orchestra and the Queensland Dance School of Excellence.

The Thomas Dixon Centre entered the Heritage Register in 1998.

Dance And Sing With Queensland Ballet, Humphrey B Bear In New Series Of Free Videos For Kids

Dancers from Queensland Ballet in West End will have special appearances in the Humphrey B. Bear’s series of free educational videos and resources created by Monash University’s AllPlay team.

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Queensland Ballet is among AllPlay’s ambassadors who will be featured in the series, along with AllPlay Dancers and AFL Disability League.

This series, which stars the iconic Humphrey B. Bear was launched with an aim to help educators and parents support children of all ages and abilities to regulate their emotions through movement and better settle back into school life.

It includes a music and dance collaboration of original songs and music videos for children with disabilities to be released in AllPlay and AllPlay Learn.

The series kicks off with three songs and videos: ‘Angry Pixie Stomp’, ‘Shake My Blues Away’ and ‘So Calm’ feature original music compositions by Corinne Gibbons, lyrics by Julie Greene, production by FIKA Entertainment.

Professor Nicole Rinehart, Director of Research at Monash University’s Krongold Clinic and founder of the AllPlay program, highlights how research shows that emotion regulation through movement and labelling is a simple but effective way of helping kids build resilience and coping skills.

According to Monash University, 1 in 6 children in Australia experiences developmental challenges or disabilities which can impact how they participate in school.

humphrey b bear free printable — Printable movement card (Photo credit: AllPlay)

“Humphrey B. Bear has always been a leader when it comes to inclusion. He loves exploring, creating, playing, learning and giving anything a go. Humphrey was the perfect choice to be the face of music videos that can help children understand their emotions and recognise them in themselves and others,” says Professor Rinehart.

AllPlay Learn takes a strengths-based approach to disability and turns this into tools and strategies that everyone can access.

“Ten years ago, we set out to change the status quo for children with disabilities. Thanks to our great partnerships and research funding partners, we have made significant progress towards our goal to make the world fit for all kids,” says Professor Rinehart.

The resources, which include movement cards aside from videos, can be viewed at https://allplay.org.au/humphrey-b-bear/.

Queensland Ballet Launches Program For People With Brain Injury

Photo credit: Queensland Ballet/Facebook

Did you know that ballet can have therapeutic effects to help improve the quality of life of people with brain injury? This is the highlight of Queensland Ballet’s new program, Ballet for Brain Injury.

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Currently being held at Queensland Ballet Studios in West End every Saturday morning, Ballet for Brain Injury is a 10-week program tailored for people living with a brain injury to help re-inhabit their bodies and cope with emotional, cognitive and physical impairments brought by the injury.

The program uses ballet-based movement, music and artistry to enable participants to experience the enjoyment, creative expression and wellbeing benefits dance can bring. As with the format of a standard ballet class, participants will start at the barre with smaller movements before learning sequences, choreography and partnering work.

Program Details

Classes are held weekly on a Saturday from 10:00 a.m. – 11:00 a.m. It costs $25, inclusive of bringing a support worker or family member, and informal morning tea following the class.

The carer/support worker/family member is required to also participate in the class alongside the participant. This creates an equal space where everyone in the class is learning and engaging at their own level to form a sense of community for all involved.

Information Pack

Why Get Involved?

“We know exercise is healthy for our brains, and for people with brain injuries the opportunity to engage in physical activity is limited, but it could really improve their rehabilitation outcomes,” said Griffith University program director and research co-lead Professor Elizabeth Kendall.

Participants are encouraged to complete a Participant Information Form before attending the first class so Queensland Ballet will be able to provide them with the most enjoyable and safe dance experience, and also understand their goals and motivations in attending the class.

Participant Information Form

This program is delivered by Queensland Ballet in partnership with Hopkins Centre, Griffith University, Queensland Conservatorium Research Centre and Citrine Sun Entertainment.

Here’s Where You Can Join A Senior Ballet Class in West End

What’s keeping older Brisbane women fit and active these days? In West End, it’s attending a senior ballet class at the Queensland Ballet studio!

Since the Queensland Ballet opened the program for older women in 2017, the senior ballet classes have been receiving more students who have been reaping the rewards of dancing. They are physically improving their posture, control of bodily functions and agility.

The senior ballet classes are conducted for eight weeks at the Beesley Street studio, whilst there is also a two-day training course for the teachers, who are then sent to the Gold Coast, Cairns, Mackay and Hervey Bay to train more senior women.

According to Genevieve Dunn, the organisation’s head of community engagement, ageing women are taught ballet techniques to enjoy and to connect with their peers.

The focus isn’t on executing a perfect routine but on physical fitness and enjoyment. The sessions are purposely repetitive so that the women could re-invigorate muscles they have stopped using, which makes them more active and energetic.

A study from the Queensland University of Technology (QUT) underscored the many benefits of attending a senior ballet class.

“Some of the participants reported that they found the classes positively euphoric and transformational in the pleasure they felt at being part of such weekly social engagement,” Professor Gene Moyle of the QUT’s Creative Industries Faculty said. “The physical benefits of movement and dance on ageing bodies is well documented and our project really re-enforces these findings, however additionally highlights the joy and benefits social connections in dance can bring to people’s lives.”

To learn more about Ballet for Seniors, as well as Jazz for Seniors and Dance for Parkinson’s contact community@queenslandballet.com.au or sign up for the classes online.