“HAVE you seen the new Chinese dancer from Houston Ballet, Matt? He’s amazing; I swear, I just saw him do eight pirouettes!”
My fellow Australian Ballet School friend was not exaggerating. Mania Gielgud, the then Artistic Director of the Australian Ballet, had acquired an exceptional dancer for the Australian Ballet’s 1995 season. From my vantage point as a second-year ballet student, Li Cunxin had a movie star presence, with a kind of Clint Eastwood, “don’t mess with me” aura. Seen occasionally with Cunxin was a lady with big hair, a country Queensland accent and a bunch of little ones in tow: his wife Mary Li (nee
