Enough with the bad news! There’s good news en pointe for Queensland Ballet
Despite a huge budget deficit for 2024 Queensland Ballet is determined to turn things around, with new artistic director Ivan Gil-Ortega here to help.
Queensland Ballet has a secret weapon to help them out of a $9.45 million hole. His name is Ivan Gil-Ortega and he’s the company’s newly minted artistic director.
The charismatic but plain-talking Spanish-born former international ballet star joined Queensland Ballet a few months ago following a period without an artistic director after the sudden exit of Leanne Benjamin. Her much-anticipated arrival and relatively quick departure shocked the arts community.
At a small press conference called yesterday to get ahead of the bad news within QB’s 2024 annual report, executive director Dilshani Weerasinghe explained that Benjamin’s sudden departure hadn’t been an ideal situation. But there is good news, too, insists Weerasinghe.
“We have already pulled many sustainability levers and we are heading towards a break-even result this year, so that’s a quick turnaround,” she says. “2024 was tough but we’re looking at a bright future and Ivan’s vision is refreshing.”
Gil-Ortega was at the press conference, along with chief financial officer Paula Perkins to help crunch the numbers.
Gil-Ortega did raise his eyebrows a few times during the press conference (his poker face is not that great), but he was bullish about the future and says he’s happy to put his shoulder to the wheel to help raise funds in the face of static government support – $3.2 million a year from the State Government and a paltry $800,00 from the Feds, a sore point with Weerasinghe.
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Gil-Ortega says that as well as looking after the artistic side of things, he’s “happy to help raise money”.
“It’s part of the job,” he says. “The situation was clear when I joined. I asked the board before my second interview if I could look at the numbers.”
He did and then decided he could work with that.
“We need to adjust and be realistic,” he says. “It’s not about what we want to be, it’s about what we can be.”
His family will soon be joining him in Brisbane, where even on a rainy Monday in mid-winter he marvels at the balmy climate. “I mean, it’s raining but it’s still 17 degrees,” he says. That’s warm for him compared to a European winter.
As artistic director, Gil-Ortega wants to spend as much time with the dancers as is possible, but he’s ready to hustle too. The word “hustle” was mentioned a few times at the press conference. There is plenty of hustling to do to sustain a company that is now housed in a swish new $100 million building, The Thomas Dixon Centre, at West End, but is struggling to sustain it. Some State Government rent relief might help, it is suggested.
Meanwhile, to recalibrate, the company has lost 27 staff recently during a restructure. Eight dancers have left, which means there are now 52 dancers and 12 Jette Parker Young Artists. Is that enough? That’s when Gil-Ortega raises his eyebrows. He’d like to have kept it at 60 dancers but says he understands the fiscal position.
Weerasinghe says Queensland Ballet has renewed momentum and a forecast return to surplus, underpinned by growth in programming, philanthropy and community engagement in 2025.
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“Heading into 2025, we made purposeful decisions to position Queensland Ballet for a strong and sustainable future,” she says. “We’ve taken decisive steps to reset our cost base, diversify revenue and embed a leadership vision that is already inspiring confidence across the company and its supporter family.”
‘Even in a difficult year, we stayed true to our mission to support artists and the broader sector’
She pointed out that in 2024 Queensland Ballet prioritised job security and sustained artistic output, maintaining an ensemble of 60 dancers and honouring wage commitments amid cost pressures. More than $19 million was invested in artists and arts workers, with more than $14.5 million generated through ticket sales and philanthropic support.
“Even in a difficult year, we stayed true to our mission to support artists and the broader sector,” says Weerasinghe. “That includes $4 million directed toward independent creatives and ensembles through our academy and artistic programs. We are proud of the role we continue to play in Queensland’s creative economy. Audience demand remained strong, with a 13 per cent increase in box-office revenue year-on-year.
She says the company also continued to deliver significant community impact, with more than 60,000 Queenslanders engaged through classes, workshops, school programs and performances across the state.
“Whilst Queensland Ballet Academy did not secure Federal funding parity in 2024, our philanthropic community has supported us with generosity and vision over many years, and we’re grateful for their continued belief in our mission,” Weerasinghe says.
She says the appointment of Ivan Gil-Ortega has energised Queensland Ballet’s community, with his inaugural 2026 season to be unveiled in October.
“There’s a genuine sense of renewal across the company,” she says. “We’re building a future grounded in transparency, care and collaboration. With Li Cunxin AO now chairing our endowment, we are focused on securing a stable and sustainable financial base for the long term.”
Chair Brett Clark reaffirmed Queensland Ballet’s commitment to unlocking the full potential of its home at The Thomas Dixon Centre, which is now fully activated with the additions of Tom’s Kitchen and Layla restaurant.
“In 2024, more than 70,000 people came through our doors,” Clark says. “Now that the precinct is fully open, we’re focused on deepening the experience and growing revenue through hospitality, parking and immersive arts programming.”
He says Queensland Ballet also expanded its state-wide footprint with new and extended partnerships, including a multi-year collaboration with HOTA (on the Gold Coast) and regional initiatives in Noosa, Toowoomba and Cairns.
Gil-Ortega says his vision for Queensland Ballet is one defined by collaboration, innovation and audience connection.
“At the heart of my approach is creative partnership – between artforms, artists and our community. Our 2026 season will bring together diverse voices and bold ideas to create work that is emotionally resonant, ambitious and reflective of Queensland’s creative identity.”