[2] In their 1987 season, Page danced in Sheherezade / Late Afternoon of a Faun / Rumours 1 / Afterworlds at the Sydney Opera House.
[5] The following year, Page co-choreographed Djunba Woman, presented by AIDT at Belvoir St Theatre in Sydney on 1 November 1990.
[9] In 1992 he choreographed Praying Mantis Dreaming, Bangarra's first full-length work,[2][10] which toured widely that year and in 1993 (Canberra, Central Western NSW, Melbourne, Brisbane, China and Hong Kong, Sydney, Cairns, Western Australia, North East Arnhem Land, New York, Los Angeles, and London).
[14] Also in 1996 he made his creative debut with the Australian Ballet, choreographing Alchemy,[2] its score composed by his brother David Page.
[10][5] He then co-choreographed Ochres (with then Bangarra assistant artistic director Bernadette Walong),[10] telling the story of the earth and the power of the elements.
[2][10] Skin consisted of two parts: Shelter, inspired by the work of desert artist Emily Kngwarreye; and Spear, a collaboration with singer-songwriter Archie Roach.
[10] Bangarra's triple bill Corroboree, choreographed by Page and with music composed by his brother David and Steve Francis, toured internationally in 2001 and 2002, mainly in the US, but was also performed in China and Monaco.
Bush, co-choreographed by Page and Frances Rings, was staged in Melbourne, Sydney, and Brisbane in 2003; Washington, New York, and Hawaii in 2004[14] (where it sold out);[20] Japan and New Zealand in 2005; and the UK in 2006.
[14] On 17 March 2006, Page created Gathering for the Australian Ballet and Bangarra, a double bill consisting of a reworked Rites and Amalgamate, staged at The State Theatre in Melbourne.
[14] In 2009, after returning from a tour of Germany, Hungary, and Austria with True Stories (choreographed by Elma Kris and Frances Rings),[31][32] (first staged in 2007[33]) Page and the dancers spent 10 days in Arnhem Land on a cultural exchange.
The work was inspired by Bruce Pascoe's book of the same name, and became the most successful production in Bangarra's history, and was highly critically acclaimed.
The piece honours the legacy of Ningali Josie Lawford-Wolf, who had been a friend and cultural consultant to Bangarra, bringing stories of her Country as a Wangkatjunga woman, the Kimberley region of Western Australia.
[38] In early December 2021, Page announced that he would be stepping down from the role of artistic director of Bangarra at the end of 2022, handing over to Frances Rings from 2023.
[43] There were discussions in the Sydney Aboriginal community about whether to boycott the Olympics, but it was Page's vision that "we needed a presence within the stadium and a true spirit to awaken the ground/ceremony especially for the rest of the world", and he met with Charlie Perkins, Isabel Coe, and others at Redfern Town Hall to thrash out the issues.
In the end, the ceremony included 380 women from Central Desert, most of whom had never been to the city before; 500 people from the Kimberley, NE Arnhem Land, and elsewhere; 500 Torres Strait Islander students, and 500 Koori children from secondary schools in NSW.
Along with his son Hunter Page-Lochard and nephews, he created Kin, a special project that opened Asia Pacific Triennial of Contemporary Art.
[20][44] In the evening of Sunday 18 March 2007, Page directed a traditional smoking ceremony in honour of the historic celebration marking the 75th anniversary of the Sydney Harbour Bridge, after a day-long celebratory event.
[2] Waru – journey of the small turtle, directed by Page and written by his son Hunter, premiered in Sydney in 2023, and ran for two seasons before going on tour from 26 June to 9 November 2024.
It was Page's first major work since leaving Bangarra, and portrayed the relationships between baleen whales and First Nations totem systems.
With music composed by Steve Francis, the performance combined contemporary dance, storytelling, and songs in English, Jandai, and Gumbaynggirr/Yaegl languages.
[55] Late in 2008, he went to Broome, Western Australia, as choreographer for the film adaptation of Bran Nue Dae,[41] directed by Rachel Perkins.
[4] His son is actor Hunter Page-Lochard[58] (born 1993[4]) whose mother, Cynthia "Sabine" Lochard,[4] is African-American and was a dancer for the New York City Ballet.
Page and Lochard separated in around 1998, which he attributes partly to the stress of frequent overseas tours, building Bangarra into a major company, and preparations for the Sydney Olympics.
[63] In 2008, Page was named New South Wales Australian of the Year,[2] "for his efforts to bring cultures together through art, and his role in mentoring the next generation of Indigenous storytellers and dancers".
[64][7][3] In 2016, Martin Portus (former director of marketing and communication at the Australia Council for the Arts) conducted an interview with Page, who discussed significant periods in the history of the Bangarra Dance Theatre, beginning with the nature of his access to traditional cultures, especially in north-east Arnhem Land.
Page himself has also won several, including Best Choreography in a Ballet, Dance or Physical Theatre Production as well as Best New Australian Work for Bennelong in 2018.