Opera Australia, Sydney Opera House
- Millennium Programme Capriccio

To work with a choreographer who understands how to get the most out of a dancer's natural abilities, both technically and narratively, is very exhilarating, rewarding, and of course wonderfully challenging.

I had an inspiring time being created on by Tim for the works Sonata for 7 (first trio) and the character of Steve Hart in My Name is Edward Kelly.

Performing Sonata for 7 at London’s Covent Garden is a definite highlight of my career, and working with Tim on the characterisation and virtuosity of Steve Hart was both humorous and creatively stimulating.

I really do have Tim to thank for artistically guiding me to finally work in a choreographer's company – Graeme Murphy’s Sydney Dance Company - where I have been a member for the last 17 years and currently hold the position of Rehearsal Director, and, during 2003, was Acting Artistic Director during Graeme Murphy and Janet Vernon’s sabbatical.

During my time at Sydney Dance Company I was invited and had the pleasure of performing in Sonata for 7 once again for Company Z in New Zealand.

Any Performer that gets the opportunity to work with Tim will be delighted with the discoveries they will make as an artist and, above all, will have simply tremendous fun while enjoying the creative pleasures of their craft

Brett Morgan
Sydney Dance Company

The experience of watching the Auckland Ballet Theatre's children's performance of 'The Nutcracker' was beautiful and thought-provoking. The performances were held at Auckland's Rose Centre in December 2007. This is a delightful theatre, well-suited to the unpretentious and enchanting dancing of this youthful and promising school of dancers, some of whom were no more than four years old.

Timothy Gordon's choreography of The Nutcracker' was typically and artistically outstanding. He combined simplicity and complexity in the demands the work made on the dancers no matter what their age and experience. They were seriously committed in their concentration. They seemed individually and collectively illuminated. It was inspiring to watch, and I was thrilled to see dancing so free of self-consciousness and pretense.

Britt Carter's choreography in the second half of the programme seemed perfectly suited to the abilities of the students. She is a mere fifteen years old, and her graciously outstanding dancing, combined with the fine evidence of her teaching and choreographic abilities were thrilling to see in combination. Simon Pointon, Director of this recently-established dance school in Takapuna, deserves commendation and support in his aspirations.

Two thoughts linger with me particularly. Where else can one witness in children's education an activity so conducive to such serious accomplishment and commitment, giving birth to such joyous individual fulfillment? An enterprise which so harmoniously and graciously extends their imaginations, their mental and physical agility, and their social and cooperative awareness? The other memory that lingers with me is that there was real kindness palpable on stage and in the atmosphere. And kindness can be scarce among the activities of our youth. For children so young to get on and off the stage is a feat indeed! Their actual achievements were, in my opinion, incalculably huge and immeasurably enriching.

Juliet Fisher