remembering Roz Hervey and her contribution to Australian dance
- Written by Russell Fewster, Lecturer in Performing Arts, University of South Australia
Much loved and respected Adelaide-based dancer, choreographer, director and producer Roz Hervey passed away last week. Her passing followed the diagnosis of motor neurone disease (MND) in 2022.
In her gracious manner, Hervey wrote a farewell letter stating:
In the next month or so I would have become totally dependent. I was always very clear that I do not want this. I wanted to leave the party while it’s still going, that time is now.
Hervey was able to access South Australia’s voluntary assisted dying scheme which, in her own words:
has made me so happy … to choose when I wanted to die, with dignity, surrounded by my beautiful family in my hometown.
I only met Hervey once at the performing arts market this year in Adelaide. I spoke to her having seen a video where she commented:
I could sit and cry in a corner – or live the best life possible.
I commended her for the grace and courage she had brought to her condition. Her modest reply was “what would you do?”. She was keen to come and see my production in the Fringe and was indeed renowned for seeing everything, such was her supportive nature.
Perhaps the most salient feature of her farewell letter is her comment she drew from Dr Seuss:
Don’t cry because it’s over, smile because it happened.
And indeed it did happen in Hervey’s outstanding career. She left a stellar mark on the state, national and international arts community.
A long, varied career
In a career that extended over 30 years, Hervey performed for companies such as Meryl Tankard Company, DV8, Sydney Front, Dance North, Theatre of Image, One Extra Company and Sue Healey.
She toured widely throughout Europe, South East Asia and Australia.
She worked closely with Force Majeure for over 10 years and her performance in Kate Champion’s Same, Same But Different (2002) won her the Ausdance award for outstanding performance by a female dancer.
Hervey choreographed for South Australian companies including Brink Productions, Slingsby, Patch Theatre Company and Theatre Republic. She also worked for major events such as the Adelaide Festival, DreamBig Festival and directed the Adelaide Fringe parade over a number of years.
For the past nine years she devised and produced work as the creative producer for Restless Dance Theatre, one of Australia’s preeminent dance companies working with artists with and without disability.
Staff of Restless Dance Theatre: Julie Moralee, Michelle Ryan and Roz Hervey.
Matt Byrne/Restless Dance Theatre
A belief in the arts
One might describe her energy as restless, but generous might be a more apt description. For her, a supportive community fostered such a diverse career:
As an artist I’ve been able to swap between roles; dancer, producer, director, dramaturg, teacher… That doesn’t necessarily happen in other cities, but because we’re such a small, tight-knit community in Adelaide, it enables artists to transition through career pathways and be supported in doing so.
Her passion and drive for her work came from a profound belief of the transformative capacity of the arts:
I’m a huge believer in the power of the arts to change perspectives. I have always used my art to challenge, and ignite audience discussion. I have seen how the arts has changed people.
Stepping into the love
Restless Dance said they are “heartbroken” but “will step into the love Roz shined on us”.
Head of dance at Creative Australia, Sarah Greentree, called Hervey “a powerhouse of Australian dance”.
State Theatre Company of South Australia artistic director Mitchell Butel described Hervey’s work as the concept creator and dramaturg on Restless’ Private View for the Adelaide Festival “helped make it one of my favourite festival shows ever”.
Theatre Republic, where Hervey served as a board member, said Hervey “was the embodiment of everything good about us humans”.
The most of every moment
Hervey created work that was able to have a profound impact on audiences. Those present at her work were witness to an authenticity that emanated from the performers she worked with.
As she said in 2021:
I am drawn to artists exploring the human condition who are not afraid of honesty. Authenticity is really important to me. On a daily basis it’s the Restless dancers, their honesty, authenticity and humour always make my day.
The authentic, warm hearted ways that Hervey lived her art and her life in making the most out of every moment until the end, shines a light for all artists seeking to balance the responsibilities of family and a life in art.
Authors: Russell Fewster, Lecturer in Performing Arts, University of South Australia
