The Dance Of The In-Between

November 16, 2022

All the world's a stage, 

And all the men and women merely players: 

They have their exits and their entrances.

(Shakespeare’s ‘As You Like It,’ Act II scene vii)


I remember leaving home, so clearly. I was eighteen and bulletproof. My father stood at the top of the red brick stairs holding the hand of my little sister, Jill – aged five. He looked forlorn. Just as I was loading my desk into the boot of an overloaded Subaru station wagon, he called out. “Say goodbye to your sister, she doesn’t understand why you are leaving.” And, in the midst of my heady excitement of moving out and on, I realised, with a fleeting moment of insight that it wasn’t my little sister Jill who was confused about my leaving, it was actually my father who wondered why I was exiting the home stage. At the time, I was a bit surprised – here was the most exciting point in my life thus far (or so I thought) and he was sad, caught unwittingly in the dance of the in-between. I wondered why he wasn’t as excited as me, or for me. I will never forget that moment. That vision of my father, struggling to let go, has revisited me on the countless occasions I have farewelled my own children – invariably as they were heading off on their seemingly impulsive overseas trips with their multi-stamped passports in hand, backpacks bulging and faces alight with the promise of the new. It is in that moment that I came to understand the tug between independence and dependence, and the sense of being uncomfortably wedged between two competing constructs. 


No-one prepares you for the joy/grief cycle of parenting or the dance of the in-between, do they? It would seem that so much focus is given to the Year 12 year, as if, having achieved the ultimate highs and lows of such a time that life might resume its pre-Senior rhythm. Not so. We are all raising adolescents whose main aim in life right now is … independence, the ability to define themselves separately from their parents and to thrive in the process. Autonomy is vital if young adults are to believe that their choices and actions matter (Harris, 2022). Yet watching our children become or seek to become autonomous can be a confronting reality, because we would like to hold on for just a little bit longer. We would like to be needed for things other than car advice or wallet opening or loan negotiations. We would like to regain the equilibrium of the pre-adolescent state, even just for a moment: wouldn’t we?


Perhaps not. Perhaps you are braver and wiser than me and more stoic in the face of departures. Perhaps you have learned to manage through the various exits and entrances of life, more robustly. Yet, I am always struck by the bitter sweetness of our Year 12 cohort, finishing. Right now, they are vacillating between brief moments of insight – appreciation for friendships, for parental belief in them and for the care of their teachers and, at other times, indicating their casual, sometimes brutal indifference or displaying energetically, their desperation to ‘get out’ – deeming that life beyond Palm Drive will be so much richer, more liberated, and more exciting – we hope it is. This is the time of the dance in-between. Every teen goes through it but that does not stop us as parents from wondering if it is only our child and it is only us who are feeling like on-lookers rather than participants in this elaborate performance.


The silver lining is, of course, that this is but a phase, a time, a universal period that parents invariably face – differently, at different times, but face, nonetheless: lest our adolescents never step across the threshold into adulthood. And so how do we manage such a time – we bravely inhale the moments of joy; the delight we have when we feel their enthusiasm for their new life, see their deep connections with friends and almost touch their palpable excitement about the tomorrows ahead. We remember our own energy-infused delight at moving on and out of the ‘captivity’ of uniforms, bells, and regimes. We seek to enjoy and embrace this time as special, important, and alive. There is nothing humdrum about the dance of the in-between, it is vibrant, capricious, and all-consuming. Let us embrace it, learn its steps, join in – for we shall not pass this way again.


Thank you to our Year 12 parents for sharing a part of this journey with us – we pray for all that lies ahead – far, far beyond the dance of the in-between.


Dr Linda Evans | Principal



More News

By Sarah Richardson May 22, 2025
From the moment she could walk, Grace Andersen was dancing. At just two years old, she took her first ballet class, not quite knowing that her tiny feet were stepping onto the path of a lifelong passion. ‘I didn’t always love it,’ she admits, ‘but I did it anyway.’ It wasn’t until a change of schools in Year 1, moving to JE Dance , that Grace fell in love with dance in a whole new way. She thought ballet was the only style out there, until she discovered contemporary, jazz, and more. But ballet always held her heart. ‘There’s just something about it,’ Grace says. ‘I like the structure. With ballet, you need the right technique, it’s disciplined. That’s what I love.’ Now, ballet is more than a hobby; it’s a central part of Grace’s daily life. She trains nearly every day. Monday through Friday at JE, and on Thursdays she leaves school early to travel to Brisbane for coaching with Classical Coaching Australia. ‘It started this year,’ she says, ‘and I’ve already learned so much.’ This dedication recently led Grace to one of the most exciting moments of her young career - being cast in Queensland Ballet’s Coppélia during its regional performance in Toowoomba. ‘At first, Mum and I thought it would be like any other show,’ Grace recalls. ‘But then we had to fill out forms with bank account details, that’s when we realised it was something more.’ And it was. Grace was cast in not one, but two roles: the opening dancer as Little Coppélia, and a Smith sister in the village scene. ‘It was such a big surprise. When the curtain went up, I was the first dancer on stage. It was amazing.’ Performing with Queensland Ballet offered Grace more than just a moment in the spotlight, it gave her a glimpse into the world she dreams of joining. ‘Just seeing everyone there… it showed me what it would be like to be a professional dancer, which is what I’ve wanted since I was really little.’ Her ultimate dream? To dance with the Paris Opera Ballet, and one day become a ballet mistress, coaching and mentoring future dancers in a top company. ‘But first, I want to get into a good ballet school or academy,’ she says. ‘It takes a lot of practice. On weekends, I bring my ballet ball out to the living room and stretch or do rises while watching TV.’ Grace doesn’t just talk about hard work, she lives it. Her weeks are full, her schedule demanding, but her love for ballet never wavers. ‘You definitely have to be strong and fit and flexible, but most of all, you have to love it.’ While she doesn’t have a famous ballerina idol, she finds inspiration closer to home. ‘My mum was a dancer. She went on pointe and everything. She didn’t perform in shows like I do, but she helps me, and I really look up to her.’ Up next, Grace is preparing for her role in The Fairy Queen with Brisbane City Youth Ballet this winter. It’s her third time with the company, and she’s already setting her sights on what comes next. Because for Grace, ballet isn’t just a series of steps, it’s the rhythm of her future.
By Sarah Richardson May 22, 2025
School mates cast in lead roles for the Empire Theatre’s 2025 Junior Impact Production When Phoebe Hohn and Sammy Cheetham auditioned for this year’s Junior Impact Production, Soul Trading, they had no idea they’d be cast opposite each other in two of the show’s leading roles. Set in the year 2079, Soul Trading is a futuristic play that explores a world where every child’s future is shaped by their personal learning robot – except for one. Phoebe plays Geri, a quirky and fiercely independent girl who refuses to follow the AI-dominated path everyone else is on. ‘Geri doesn’t have a bot like the others. She’s different, and she’s proud of it,’ says Phoebe. ‘I love playing someone who questions everything and isn’t afraid to go her own way.’ Her co-star, Sammy, takes on the complex role of Neutron, a clever and rebellious robot who doesn’t quite fit the mould. ‘Neutron is actually an illegal robot that Geri secretly 3D printed,’ Sammy explains. ‘She’s bright, ambitious, and wants to live a free life – but Geri tricks her into thinking she’ll die if she leaves.’ Throughout the show, Neutron cleverly manipulates both humans and bots to bend the rules and follow her lead. For Sammy, this is her second year involved in the Junior Impact Ensemble. ‘Last year, I was part of Our Egg Named Larry, and I absolutely fell in love with the program,’ she says. ‘That experience made me want to audition again this year, and I was thrilled to receive one of the main roles.’ Phoebe and Sammy, who are also speech and drama partners, supported each other through the audition process and have relished the opportunity to bring this fast-paced, futuristic story to life together. Their characters’ dynamic is central to the narrative, and their real-life friendship brings depth and energy to every rehearsal. With the production set to hit the Armitage Centre stage this July, both students say the experience has pushed them creatively and helped them grow in confidence. ‘Performing in a space like the Armitage is a dream,’ Phoebe says. ‘It’s exciting and a little bit surreal.’ We can’t wait to see Phoebe and Sammy shine on stage as Geri and Neutron – two bold characters in a brave new world.
By Sarah Richardson May 22, 2025
10 minutes with Ebbeny Williams-Cherry, 2025 Fairholme College Prefect for the Arts and lead character in Midnight: The Cinderella Musical.
All News

More News…

By Sarah Richardson May 22, 2025
From the moment she could walk, Grace Andersen was dancing. At just two years old, she took her first ballet class, not quite knowing that her tiny feet were stepping onto the path of a lifelong passion. ‘I didn’t always love it,’ she admits, ‘but I did it anyway.’ It wasn’t until a change of schools in Year 1, moving to JE Dance , that Grace fell in love with dance in a whole new way. She thought ballet was the only style out there, until she discovered contemporary, jazz, and more. But ballet always held her heart. ‘There’s just something about it,’ Grace says. ‘I like the structure. With ballet, you need the right technique, it’s disciplined. That’s what I love.’ Now, ballet is more than a hobby; it’s a central part of Grace’s daily life. She trains nearly every day. Monday through Friday at JE, and on Thursdays she leaves school early to travel to Brisbane for coaching with Classical Coaching Australia. ‘It started this year,’ she says, ‘and I’ve already learned so much.’ This dedication recently led Grace to one of the most exciting moments of her young career - being cast in Queensland Ballet’s Coppélia during its regional performance in Toowoomba. ‘At first, Mum and I thought it would be like any other show,’ Grace recalls. ‘But then we had to fill out forms with bank account details, that’s when we realised it was something more.’ And it was. Grace was cast in not one, but two roles: the opening dancer as Little Coppélia, and a Smith sister in the village scene. ‘It was such a big surprise. When the curtain went up, I was the first dancer on stage. It was amazing.’ Performing with Queensland Ballet offered Grace more than just a moment in the spotlight, it gave her a glimpse into the world she dreams of joining. ‘Just seeing everyone there… it showed me what it would be like to be a professional dancer, which is what I’ve wanted since I was really little.’ Her ultimate dream? To dance with the Paris Opera Ballet, and one day become a ballet mistress, coaching and mentoring future dancers in a top company. ‘But first, I want to get into a good ballet school or academy,’ she says. ‘It takes a lot of practice. On weekends, I bring my ballet ball out to the living room and stretch or do rises while watching TV.’ Grace doesn’t just talk about hard work, she lives it. Her weeks are full, her schedule demanding, but her love for ballet never wavers. ‘You definitely have to be strong and fit and flexible, but most of all, you have to love it.’ While she doesn’t have a famous ballerina idol, she finds inspiration closer to home. ‘My mum was a dancer. She went on pointe and everything. She didn’t perform in shows like I do, but she helps me, and I really look up to her.’ Up next, Grace is preparing for her role in The Fairy Queen with Brisbane City Youth Ballet this winter. It’s her third time with the company, and she’s already setting her sights on what comes next. Because for Grace, ballet isn’t just a series of steps, it’s the rhythm of her future.
By Sarah Richardson May 22, 2025
School mates cast in lead roles for the Empire Theatre’s 2025 Junior Impact Production When Phoebe Hohn and Sammy Cheetham auditioned for this year’s Junior Impact Production, Soul Trading, they had no idea they’d be cast opposite each other in two of the show’s leading roles. Set in the year 2079, Soul Trading is a futuristic play that explores a world where every child’s future is shaped by their personal learning robot – except for one. Phoebe plays Geri, a quirky and fiercely independent girl who refuses to follow the AI-dominated path everyone else is on. ‘Geri doesn’t have a bot like the others. She’s different, and she’s proud of it,’ says Phoebe. ‘I love playing someone who questions everything and isn’t afraid to go her own way.’ Her co-star, Sammy, takes on the complex role of Neutron, a clever and rebellious robot who doesn’t quite fit the mould. ‘Neutron is actually an illegal robot that Geri secretly 3D printed,’ Sammy explains. ‘She’s bright, ambitious, and wants to live a free life – but Geri tricks her into thinking she’ll die if she leaves.’ Throughout the show, Neutron cleverly manipulates both humans and bots to bend the rules and follow her lead. For Sammy, this is her second year involved in the Junior Impact Ensemble. ‘Last year, I was part of Our Egg Named Larry, and I absolutely fell in love with the program,’ she says. ‘That experience made me want to audition again this year, and I was thrilled to receive one of the main roles.’ Phoebe and Sammy, who are also speech and drama partners, supported each other through the audition process and have relished the opportunity to bring this fast-paced, futuristic story to life together. Their characters’ dynamic is central to the narrative, and their real-life friendship brings depth and energy to every rehearsal. With the production set to hit the Armitage Centre stage this July, both students say the experience has pushed them creatively and helped them grow in confidence. ‘Performing in a space like the Armitage is a dream,’ Phoebe says. ‘It’s exciting and a little bit surreal.’ We can’t wait to see Phoebe and Sammy shine on stage as Geri and Neutron – two bold characters in a brave new world.
By Sarah Richardson May 22, 2025
10 minutes with Ebbeny Williams-Cherry, 2025 Fairholme College Prefect for the Arts and lead character in Midnight: The Cinderella Musical.
All News