Artistic Director David McAllister’s vision to mount a new-yet-traditional staging of perennial favourite Swan Lake has been lovingly and expertly realised in this wondrous production that puts the focus squarely on the superb dancers of The Australian Ballet.

* For the review of Graeme Murphy’s Swan Lake 2013 CLICK HERE *

Fundamental to the success of this performance, a centerpiece in this 50^th anniversary year, is the extraordinary work of choreographer Stephen Baynes. An expert storyteller, Baynes gives the narrative a drive and purpose that avoids the trap of having dance after dance for their own sake. Solos and pas de deux are exquisite, but the stage really comes alive with full corps de ballet sequences, such as the grand balls of acts I and III and the massed white swans of the iconic act II. Baynes paints picture after beautiful picture with his dancers, creating work that appears to be as much pleasure for the dancers to perform as it is for the audience to watch.

The artistry of the dancers is complemented superbly by the costume and set designs of Hugh Colman. The collaboration of Baynes and Colman, referenced in the program notes, is clearly evident throughout the ballet, with many of Baynes’ physical compositions set off perfectly by the colour, texture and form of the costumes and the grandeur of the backdrops.

The work is further enhanced by the excellent lighting design of Rachel Burke, one of the many highlights being the cinematic fade in and fade out of Prince Siegfried’s childhood memories in the prologue. Further magic comes from the judicious use of projections, designed by Domenico Bartolo.

Music Director Nicolette Fraillon inspires Orchestra Victoria to a rich, beautiful performance of the all-time classic score. Fraillon’s world-class knowledge of classical repertoire and her sheer love of music can practically be heard in every note.

Dancing in the world premiere of this new production were Amber Scott and Adam Bull, who had the audience in raptures of appreciation. Tall and nobly handsome, Bull is the ideal leading man. With his acting talent on par with his dance ability, Bull commands attention as the tormented, brooding Prince, pervading a languid, melancholy air which is cast off during the thrilling solos and pas de deux of act III.

Scott’s delicate appearance belies a subtle inner strength that radiates throughout her performance. Her presence is such that she is clearly seen at all times even when on stage with 24 other ballerinas with the same costume and hair. Scott’s swan-like undulating arms as Odette floats offstage at the end of act II creates a heartbreaking image as Siegfried is left alone to wonder if he will ever see his love again.

Reiko Hombo, Jessica Fyfe, Eloise Fryer and Jade Wood proved to be athletically nimble and gracefully precise in the beloved dance of the four Cygnets.

As much a star as any of the soloists are, the corps de ballet, with their focus, strength, grace and beauty shining through in all their meticulous, expressive and just simply gorgeous work.

A range of guest artists provide quality support, with highlights including Lisa Bolte as the Queen, who practically died of humiliation at the end of act III, and the ever-expressive Colin Peasley.

The story of the ballet will, of course, be familiar to a great many audience members, with the piece further brought to public attention through the hit movie Black Swan. While this familiarity takes away some of the thrill, the evening is nonetheless an entirely satisfactory and enjoyable one. A freshness and passion are brought to the work by the obvious dedication and focus of the entire company. The craftsmanship and expertise of so many artists of the theatre combine to create a whole that is even greater than the sum of its not inconsiderable parts.

Special mention must be made of the high quality souvenir program for Swan Lake, which is absolutely packed with fascinating feature articles and gorgeous photos. Having seen ballets this year in London, Paris, Munich, Milan and New York, this reviewer claims that the program must be the best of its kind in the world.

You may also enjoy Man in Chair’s reviews and photos of:

The Australian Ballet’s Icons

Eifman’s Ballet’s Anna Karenina

Royal Ballet’s The Nutcracker and Romeo and Juliet

Bavarian State Ballet’s The Sleeping Beauty

La Scala’s Giselle

Matthew Bourne’s Nutcracker! and Ivan Putrov’s Men in Motion

Photos: Jeff Busby

This review published on Theatre People 19 September 2012

The Australian Ballet’s only triple bill for the year, Vanguard is a celebration, through dance, of the beauty of the human body. Stripped back to sheer unitards, trunks and tights, the dancers achieve a closer intimacy with each other than is usually possible with frills and tutus. The night is also a wonderful demonstration of the depth of talent of the company, with each piece consisting of tight ensembles made up primarily of principal artists, senior artists and soloists.

With so many of the supremely talented dancers on display together, it is interesting to see the emergence of principal artist Adam Bull as a standout performer. With several years having passed since AB had a true star male attraction, Bull’s elegant combination of masculine strength and finely nuanced dance ability, along with his experience and expertise, not to mention his height, give him the makings of true star attraction.

Performed on a glossy white tarquette in front of a gleaming blue backdrop, George Balanchine’s The Four Temperaments starts slowly, with duos and trios building to larger combinations. Dressed in stark black and white, the dancers’ precise movements stand out crisply, and when the full company appear towards the end of the act the effect is quite thrilling. The “Phlegmatic” sequence, showcasing Bull with four female dancers, is a true highlight. The gracefully gorgeous Olivia Bell also shines in “Choleric.”

Bella Figura, a hypnotically mesmerising dreamlike performance, is the standout of the three ballets presented in Vanguard. Audience’s expectations of beginnings and endings are toyed with, particularly at the start, where we return from interval to find dancers already occupying the stage. From an inky, cavernous blackness, curtains rise and fall and dancers emerge and disappear as each sequence merges seamlessly into the next. The music alternates between longing strings and a plucking harp, with soprano Janet Todd and mezzo soprano Margaret Trubiano adding to the ethereal beauty from the pit.

Joke Visser’s costumes for Bella Figura are a range of sheer blacks and reds, with a startling sequence featuring massive blood red skirts. Jiří Kylián’s choreography is deliberately slow, measured and controlled, building in passion as the piece progresses. An exploration of sensuality, the atmosphere is enhanced by the unflinching courage of the female dancers in appearing topless in a couple of tastefully lit and styled segments. As passions reach their peak, the effect is given literal symbolism by the appearance of real roaring fires in the background. The final sequence, performed in complete silence, had 2000 audience members holding their breath in spellbound wonder.

Wayne McGregor’s 2009 commission Dyad 1929 makes a welcome return, with the distinction of what is basically an all-star cast. Performed on a floor and backdrop of white with neatly arranged black dots, the highly physicalized ballet calls on the dancers to contrast rapid movement with slow displays of strength. The flowing style between each segment makes Dyad 1929 a natural partner for the other two ballets in the triple bill, and yet there is also the sense that perhaps the three pieces are a little too similar to each other in style. Steve Reich’s music has an insistent pulsing beat, with the sound enhanced by a heavily percussive orchestration, particularly highlighting the xylophone.

Members of Orchestra Victoria took a well-deserved bow on stage at the end of the night, alongside redoubtable maestro Nicolette Fraillon. The audience also had the chance to thank departing Executive Director Valerie Wilder, who has overseen a highly successful period for the company.

As an evening of pure dance, Vanguard is as expertly performed as audiences could possibly desire.

Photos: Branco Gaica

This review written for Theatre People 7 June 2013

More than ten years old, and not showing the slightest signs of age, Graeme Murphy’s masterful production is as vivid and thrilling as ever.  Following last year’s traditional staging of perennial favourite Swan Lake, this avant-garde delight returns as a special treat for Melbourne audiences only. A gift that keeps on giving, the work of choreographer Graeme Murphy, along with creative associate Janet Vernon, continues to be enjoyed and adored by all who are lucky enough to see it.

The dramatic impact and romantic splendour of this version remain supremely potent, with Kristian Fredikson’s sets and costumes as pristine and visually striking as they were at the production’s 2002 premiere. Audience members still gasp at the rise of the act three curtain, when a forebodingly dark, black, heavily textured palace scene replaces the gleaming white and silver world of the first two acts.

In addition to the pure, gorgeous dance involved, each of three principals, and, in fact, the entire company, are provided with considerable scope for acting throughout the piece. Storytelling is key and endless divertissements are nowhere to be seen. The chief achievement of the flawless combination of choreography and direction is that the beauty of the dance is immeasurably enhanced by the constant underlying tension between the characters. As well as being drilled to precision in dance, each performer clearly knows their character’s motivation, and this evident focus on dramaturgy pays off in an absorbing and moving night of theatre.

Tchaikovsky’s swirling, lyrical music is heard in a superb rendition of the timeless score by Orchestra Victoria. Powerhouse conductor Nicolette Fraillon’s brisk tempi keep the music at a thrilling pace. Impressively strong playing is heard from the brass, which contrasts with exquisite notes from the harp.

Adam Bull again shows himself to be a star attraction, giving another finely calibrated performance coloured by delicate nuance and intriguing detail. Bull’s strength in the slow, highly controlled moves is rather incredible, and he benefits from the costume design, with his long limbs looking elegant and expressive as he dances in suits rather than the tights that would traditionally be seen.

Amber Scott is a sublime Odette, her luminous beauty allowing the young woman’s spiraling fear to radiate out with great power. Odette’s joy at her reunion with Prince Siegfried is shared by all, even though we know it will be short lived. Scott’s act two solo is a highlight, her affecting expression of Odette’s inward contemplation drawing the audience towards her performance.

Lana Jones’ petite build and fair colouring make the villainy of the adulterous Baroness implicit rather than stereotyped. Smug and secure as the husband-stealing Baroness may be in act one, her jealous madness in act three paves the way for a tour de force solo from Jones, after the Baroness sees her lover return to his wife. In this extraordinary sequence, Jones conveys palpable loss and longing with every fibre of her body, the Baroness’ movements building to a frenzied climax that Jones performs with spellbinding passion and absolute control.

Of the supporting dancers, magnetic soloist Brett Chynoweth catches the eye as the Earl’s Equerry, ably partnered in an amusing series of duets by the effortless dancing of senior artist Chengwu Guo. The work of the coryphées and corps de ballet as the swan and cygnets is immaculate, as Murphy has them glide from one gorgeous picture to the next.

If ever there was a show guaranteed to enthrall the newcomer and aficionado alike, this is surely the one. Provided you are quick enough to secure a ticket.

Graeme Murphy’s Swan Lake continues at State Theatre, Arts Centre Melbourne until Monday 1 July 2013.

Read reviews of other 2013 presentations by The Australian Ballet:

Adam Bull and an all star cast in Vanguard “An exploration of sensuality, the atmosphere is enhanced by the unflinching courage of the female dancers in appearing topless in a couple of tastefully lit and styled segments.”

Lana Jones and Daniel Gaudiello in Don Quixote “Strong individually, Jones and Gaudiello truly shine as a pair. Each final solo and pas de deux brought roars of approval from the enraptured crowd.”

Photos: Jeff Busby

This review published on Theatre People 22 June 2013.

Romantic double bill La Sylphide and Paquita celebrate the sheer beauty of pure ballet, providing an evening of unabashed theatrical pleasure. Performed in a section of the season usually reserved for a triple bill, the traditional pair of works is a treat for audiences who love the tutus and tights usually seen in the full-length works.

Enhanced with a patina of gleaming gold, Paquita flows by with an air of effortless beauty. Golden stars twinkle from a midnight blue sky while a dozen or more lovely ladies of the company appear in ornate gold tutus.  Choreography is by acknowledged master Marius Petipa, featuring his trademark expression and interaction of dancers as characters.

Highly accomplished Principal Artist Olivia Bell may be hanging up her pointe shoes after this season, but her elegance and freshness defy this time of her career. A gorgeously tall partner for the male principals, Bell gives a memorable, effortlessly inspiring performance.

The lone male in Paquita, Adam Bull is in his element with athletic leaps and lifts that are almost too easy for his extraordinary capabilities. Bull’s elegant poise and polish are a wonderful asset for the piece.

Guest conductor Philip Ellis leads Orchestra Victoria in a rousing, effervescent performance. Minkus’ music for Paquita has a driving oom-pah brass beat that creates a distinctly festive atmosphere. The mood for La Sylphide is more one of tender longing, although there is plenty of nimble playing delivered by the strings in the more sprightly moments.

La Sylphide is like watching a full-length story ballet in fast forward. Under 90 minutes, including interval, the ballet flies by in a whirl of delight. There is so much storytelling that, at times, the dancers resemble silent movie stars.

Handsome young Scotsman James is set to wed Effie but his fascination with The Sylph, plus the machinations of Madge the witch, derail his nuptials, leaving the bride fair game for his cousin Gurn.

Another female-heavy piece, the ballet features only three men, one of whom, redoubtable character performer Colin Peasley, is playing Madge!

Leanne Stojmenov captures the ethereal beauty, and the cheeky playfulness, of The Sylph, her endearing performance making the ending all the more moving.

Masculine Principal Kevin Jackson effectively portrays the romantic dilemma and confusion of James, effortlessly delivering the leaps and pirouettes that have his kilt spinning up around his ears.

Talented Coryphée Jarryd Madden makes a highly auspicious featured role debut as cousin Gurn. Vivienne Wong is adorable as flustered fiancée Effie.

The opening castle setting for La Sylphide is impressively majestic, while the forest, though hauntingly translucent, has seen better days.

The Australian Ballet once again prove themselves completely devoted to providing entertainment of the highest calibre. Final 2013 offering Cinderella is breathlessly anticipated.

La Sylphide plays at State Theatre, Melbourne Arts Centre until 7 September 2013 before moving to Sydney in November.

Photos: Jeff Busby [Paquita photos show Olivia Bell and Adam Bull, while La Sylphide photos show opening night cast Madeleine Eastoe and Daniel Gaudiello]

This review published on Theatre People 1 September 2013

Achieving a splendid synergy between content and style, The Australian Ballet’s new season of Sir Kenneth MacMillan’s Manon complements the brand new orchestrations of Massenet’s music with lovingly refreshed sets and costumes as well as Principal Artists at the top of their form and Guest Artists drawn from the ranks of ballet royalty.

As wonderful as every aspect on stage may be, the new orchestration is a true highlight of this season. British conductor and music scholar Martin Yates has carefully and intelligently re-orchestrated the score of Massenet’s music, which was originally stitched together by Leighton Lucas for MacMillan’s Manon in 1974. The result is a consistent, fluid piece of music that gently supports the dancing whilst also enhancing the emotional effect of the dramatic story.

Maestro Nicolette Fraillon leads Orchestra Victoria in a finely nuanced rendition of this new score. Dynamics are generally quite soft, particularly the very quiet opening bars of the overture, which have the settling effect of drawing the audience towards the music and, hence, the ensuing action.

Peter Farmer’s sets are designed on quite an epic scale, with set changes within each of the three acts taking place remarkably swiftly. Although these sets are admirably lavish and evocative, they are traditional to the point of appearing quite dated, particularly coming directly after 2013’s brand new production of Cinderella. Farmer’s costumes have a more timeless quality, and are certainly looking their best thanks to revitalisation from the Australian Ballet Wardrobe department. Innocent young lovers Manon and des Grieux stand out in powder blue against the seedier tones of burnt ochre, plum and olive worn by the townsfolk of 1780s Paris. Farmer’s designs trace Manon’s journey from rags to riches to rags with precision and intricate detail.

The description of Manon as the ultimate story ballet is no mere piece of marketing hyperbole. The darkly compelling story advances at a rapid pace, with plot developments of both violent and sexual natures punctuating the central love affair of Manon and des Grieux. There is barely a superfluous step in Kenneth MacMillan’s masterful choreography, with the traditional divertissements and featured dances of traditional full-length ballets largely eschewed in favour of almost nonstop action. Having previously staged Manon in 2008, The Australian Ballet is fortunate to have mature Principal Artists who are familiar with the work. Their superb work has been enhanced by guest repetiteurs Patricia Ruanne and Mark Kay.

In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon. With her characterisation slanting towards the naïve, loving facets of Manon’s personality, Dunn easily creates an endearing interpretation of the role, making the final stages of Manon’s short life all the more heartbreaking. Having engaged our affections, the sexual danger Manon experiences create palpable tension. Portraying the young Manon with lines of rigid strength, the floppy rag doll Dunn creates for Manon’s death scene is harrowing to watch. Dunn had the full and vocal support of the Melbourne opening night audience, with a round of applause for her entrance and an extended standing ovation for her curtain call.

With each year, stellar Principal Artist Adam Bull enhances his superb technique and physical beauty with layers of emotional complexity in his acting. His long elegant limbs are used to superb effect as the impetuous young des Grieux, and Bull develops a soulful, compassionate performance that adds significantly to the pathos of the story. An example of Bull’s strong stage presence comes in act two as des Grieux seethes with anger and jealousy at the sight of his beloved Manon on the arm of wealth Monsieur GM. While des Grieux has little or no dancing in this scene, Bull achieves the full range of emotion with his acting skills and physical presence. Beginning with an energetic early solo that conveys des Grieux’s instant love for Manon, Bull continues through the ballet in excellent form, achieving a touching chemistry with Dunn. The death scene pas de deux from the pair is extraordinary in its level of physicality and trust and in its dramatic effect.

Principal artists Andrew Killian and Lana Jones are luxury casting for the supporting roles of Lescaut, contemptibly avaricious brother of Manon, and Lescaut’s flighty mistress. Like Bull, Killian also brings a notable maturity to the role, matching the quality of his dancing with a sinister but believable acting performance. Jones tosses about her character’s head of red curls as the mistress dances to dazzle her lover and the assembled crowds. Killian and Jones share an absolutely brilliant pas de deux in act two as they dance at a party while Lescaut is drunk.  Providing a welcome burst of humour, their precision in this sequence is quite breathtaking.

Did I mention luxury casting? How about the Australian Ballet’s longest serving Principal Artist Steven Heathcote as the dastardly Monsieur GM and beloved former Senior Artist, and longtime ballet supporter, Julie da Costa as the decadent Madame X? Both of these artists bring an effortless grace to their roles and are a pleasure to watch. Da Costa is particularly effective when Madame X presents her courtesans at the party, showing Madame X to become quite carried away, perhaps with memories of her own past as a courtesan, in the centre of the circle of women. Heathcote’s handsome stature and confident presence allow him to easily convey the ruthless sexual and financial greed of Monsieur GM.

As the Beggar Chief, Soloist Brett Chynoweth again proves his value as a quirky and dynamic featured performer.

While Manon may not be the right ballet for the youngest of dancers to watch, adult audiences are sure to succumb to its extravagant and intoxicating quality.

Manon plays at State Theatre, Arts Centre Melbourne, until 24 March 2014, before playing at Joan Sutherland Theatre, Sydney Opera House, 3 – 23 April 2014.

Photos: Courtesy ofThe Australian Ballet.

This review published on Theatre People 15 March 2014.

An intimate celebration of the beauty of the human form in dance, Chroma is a thoughtfully curated presentation of the work of a wide range of contributing artists.

Above the considerable merits of the artistic input of the creative team, the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together. Where a full-length ballet may present two or three stars, Chroma features no less than eight of the ten currently reigning Principal Artists. In pieces that involve stripped back costumes, rapid movement and frequent close physical contact, the comfort, familiarity and confidence of the dancers in each other is an unbeatable asset. The result is a thrilling evening of unique dances, which vary from jarringly confronting to hauntingly poetic to delightfully humorous.

Equal parts sharp and fluid, the Australian premiere of British choreographer Wayne McGregor’s “Chroma” is an enthralling opening to the program. Deliberately bolstered by the rare use of amplification, Orchestra Victoria sound sensational while playing composer Joby Talbot’s score, which chiefly consists of instrumental covers of The White Stripes by Jack White III. While the compact size of John Pawson’s white box set design is not ideal for State Theatre sightlines, its smooth lines create a clean backdrop. Using five pairs of neutral nude tones, Moritz Junge creates an androgynous effect by dressing the male and female dancers in the same apparel.

With six of the ten dancers drawn from the ranks of the Principal Artists, “Chroma” is like watching a masterclass of modern dance. With brisk athleticism, the dancers work as one to bring the piece to life. Highlights include the exciting male trio by Andrew Killian, Brett Chynoweth and Christopher Rodgers-Wilson, who is sure to be promoted at any moment. Beloved stage couple Adam Bull and Amber Scott share a quiet moment for a meditative, highly romantic pas de deux.

“Art to Sky,” by resident choreographer Stephen Baynes, 
receives its world premiere this season. Tchaikovsky’s Mozartiana, used previously by George Balanchine, remains a perfect piece of music for ballet. Following the excitement of “Chroma,” “Art to Sky” makes a bit of a slow start, but gradually wins the audience over with its playful appeal and romantic overtones. Hugh Colman’s costumes, the most colourful of the night, stand out against the full size black box stage in muted, smoky jewel tones.

With a small piece of a castle overhead, there is a sense of fairy tale fragments, giving the work shades of narrative thrust. Killian and Madeleine Eastoe perform a charged pas de deux that would be welcome in any full-length ballet. In a clever trick, as part of Rachel Burke’s lighting design, Eastoe disappears before our eyes in the corner of the stage after the pas de deux. Lana Jones, in tiara and silvery white slip, performs a lovely sequence with the men, in which she is tossed about like a princess doll whilst also treating the men as her own playthings. Chengwu Guo dances a mesmerizing, masculine solo. The act concludes with a lovely combined piece from the fourteen dancers.

In the first of a fascinating pair, Jiří Kylián’s “Petite Mort” makes a bold beginning by setting a slow but tightly timed dance to the breathless sound of silence. Five male dancers move gradually downstage, using fencing foils as dramatic props. The concentration and unified teamwork of the men is terrifically impressive.

The female dancers present the first touches of humour in Kylián’s works when they glide on in black Elizabethan gowns, which we soon see are just solid fronts on wheels. These “gowns” are used in both works to charming comic effect. “Petite Mort” is the more serious of the pair, presenting a series of hypnotically sensual pas de deux.

Both of Kylián’s pieces are set to the serenely lovely music of Mozart. Ever impressive music director Nicolette Fraillon handles the variety of styles of the evening with effortless aplomb, with Orchestra Victoria also rising to the challenge of giving a unified sound to the somewhere diverse aspects of the set of scores.

In “Sechs Tänze,” Kylián takes the Mozart angle a step further by dressing the dancers in powdered wigs and period make up, which not only allow for heightened expression but also contrast humorously with the light calico costuming.

Chroma is an accessible, nicely balanced evening of entertainment performed by dancers at the top of their game.

Chroma plays at State Theatre, Melbourne Arts Centre, until 14 June 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Jess Bialek

This review was published on Theatre People 7 June 2014.

A pair of classical treasures, Ballet Imperial and Suite en Blanc make a neatly balanced midyear complement to the streamlined modern dance of Chroma. With nary a trace of narrative or character, the dances celebrate the classical tradition in its purest form, leaving the audience to relax and take in the beauty.

The regal tone of George Balanchine’s time-honoured Ballet Imperial is established with a majestic showcloth bearing a griffin-laden coat of arms that would not look out of place on Game of Thrones. With a simple backdrop of storm clouds and bit of gold curtain overhead, Hugh Colman’s costumes are far more attractive than his basic set design. The lead dancers’ rich sapphire costumes stand out attractively against the sea of deep turquoise of the corps.

The call and answer of Tchaikovsky’s
 Concerto No. 2 is reflected beautifully in Balanchine’s choreography, with extensive variations creating all kinds of symmetry balance.

Young pianist Hoang Pham sends a forth a liquid cavalcade of notes on grand piano. His playing achieves a solid level of balance with the orchestra, creating a sound so rich that it is easy to miss whether piano or orchestra are playing.

Adam Bull distinguishes himself as much from the strength and grace of his dancing as from his mature, highly focused stage presence. Achieving rather incredible speed in entrechat, Bull also creates a mighty impression with elegant leaps of such power that he seems to float momentarily in the air.

Lana Jones is a graceful partner who maintains a placid smile even during the most demanding of moves. As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.

The gleam that shines forth from Miwako Kubota is not just due to the most sparkling of sapphire tutus, but from the way she beams with pleasure at the combined beauty of the music and dance, her enjoyment infectiously inspiring our own pleasure in the performance.

Benedict Bemet and Ako Kondo are lovely soloists, whose radiant smiles complement the quality of their dancing. Brett Simon and Rudy Hawkes provide strong support in the true sense of the word, in that they contribute skillfully to the dance while maintaining a neutral stance so as not to draw attention from the featured dancers and the ensemble.

Serge Lifar’s perennial favourite Suite en blanc remains a virtuosic display of dance. If taken as an indicator of the company’s current depth of talent, it gives a very healthy impression indeed, with each divertissement drawing rapturous, appreciative responses from the crowd.

Eduard Lalo’s music begins with a hypnotic pulse before developing a splendid sense of pageantry as the piece proceeds. Maestro Nicolette Fraillon draws a shimmering performance from Orchestra Victoria.

William Akers’ lighting, recreated by Graham Silver, creates variation and depth in the all white costumes, bathing the dancers in warm light downstage while casting a ghostlier white upstage.

Beginning with the rather spectacular stage arrangement of the full company, which draws instant applause, Suite en blancpresents a varied collection of dances, each more wondrous than the last. Highlights include Pas de Cinq, in which the serene Kondo is given terrifically masculine support from Brett Chynoweth, Marcus Morelli, Luke Marchant and Jacob Sofer. Pas de Trois illuminates the highly polished flair and control of principal artists Madeleine Eastoe, Kevin Jackson and Andrew Killian. Chengwu Guo’s supreme athleticism results in a jaw-dropping display of speed and elegance in Mazurka. Amber Scott and Hawkes make the central Pas de Deux as dreamily romantic as that from a full-length story ballet.

The final moments see a brief snippet from each section in quick succession, leaving the audience gasping in appreciative wonder.

Ballet fans who usually only favour story ballets will delight at the abundance of classical dance on display here. No lover of tutus should miss Imperial Suite.

Imperial Suite plays at State Theatre, Arts Centre Melbourne, until 28 June 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’sManon“In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: courtesy of The Australian Ballet

This review published on Theatre People 21 June 2014

A second opportunity to attend this sumptuous presentation of Peter Wright’s The Nutcracker was too good to pass up, especially the chance to see popular Principals Adam Bull and Amber Scott in full flight.

Troubled by the occasional misstep on opening night, the quality of last night’s performance leaves no doubt that the season has securely found its feet. Conductor Nicolette Fraillon keeps many tempi quite brisk, and yet the dancers prove more than up to the task, creating many a thrilling moment. Technical elements are also running smoothly, with the assortment of magic tricks playing their part in adding to the wide-eyed wonder invoked by the splendour of the dance. The short opening sequence of act two, in which Clara flies by white goose as rats materialise from the mist below, is breathtaking in its theatrical beauty.

Brooke Lockett is an absolute delight as Clara. Blessed with a delicately angular face that gives the appearance of a perpetual smile, Lockett gently colours the winsome innocence of Clara with a hint of burgeoning maturity. Lovely as her work is in act one, Lockett really comes into her own in the second half, as Clara participates in many of the well-known divertissements. Not to take anything away from the wonderful dancers on show, but Lockett commands absolute attention thanks to the dazzling combination of her superb dancing and highly polished presentation.

A master of the more tortured, yearning princes, Adam Bull effortlessly changes gears here as The Nutcracker’s contentedly noble Prince, complementing his magnificent dancing with a serenely pleasant outlook. In their all too brief moments of pas de deux, Bull is an ideal partner for Lockett, with the long limbs of both creating lovely clean lines.

Brett Simon plays down the menacing aspect of Drosselmeyer’s countenance, acting as ringmaster in a gentler, subtler manner.

In the climax of the evening, the quality rises by another notch as Amber Scott enters as the Sugar Plum Fairy. Scott and Bull prove something of a dream team, bringing utter confidence to the grand pas de deux. Scott conveys a distinctly fairy-like flutter in her rapid movement and regal grace. The pair’s super-fast dancing in the brief final pas de deux is nothing short of astounding.

Special mention of Benedicte Bemet (our Clara on opening night) who makes an excellent Columbine. The precision of Bemet’s sharp, crisp lines infuse the enchanted doll with just the right amount of cheeky humour.

The combination of school holidays and an earlier start time led to an abundance of younger theatregoers throughout the capacity audience last night. While most of the adults in attendance would surely have had some previous experience of The Nutcracker, the thought of the magical spectacle as seen through young eyes adds a fresh layer of wonder to proceedings. The experience surely creates a healthy number of lifelong fans of ballet.

The Nutcracker plays at State Theatre, Arts Centre Melbourne until 25 September 2014.

The Nutcracker plays Joan Sutherland Theatre, Sydney Opera House 28 November – 17 December 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Kevin Jackson and Madeleine Eastoe in The Nutcracker “Kevin Jackson brought a heroic nobility to the Prince, with his mighty quadriceps propelling him to great heights.”

Daniel Gaudiello and Madeleine Eastoe in La Bayadère “In the third of their act three pas de deux, the pair really soars, leaving no doubt of the power of their love.”

Adam Bull and Lana Jones in Imperial Suite “As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.”

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Lynette Wills (taken side stage)

Celebrating the glorious past and looking firmly toward the future, The Australian Ballet School marked the truly landmark occasion of their fiftieth anniversary with a wonderful evening of ceremony and celebration.

Concluding her remarkable 16-year tenure as Director, Marilyn Rowe has the distinction of being part of the entire 50-year history of the School, having started there as a student in 1964. What a thrill for Rowe to see all the success that has been achieved, and what a thrill for the audience to have a chance to see Rowe dance again.

Chairman of the Board Leigh Johns opened the night, and introduced a new short film that paid homage to the three outstanding women who have guided the School over its 50 years of operation: Founding Director Dame Margaret Scott, Director Gailene Stock and Rowe. Of particular significance was a comment by Scott regarding the School’s origins: Australia’s ballet schools used to work towards students achieving scholarships to train overseas, a trend Scott wished to reverse by having the dancers train here. To say that this wish has been fruitfully achieved is an understatement.

A Fanfare saw a procession of all current students, joined by past students now in the Australian Ballet as well as past students now retired. The epic assembly was capped off by the presence of Scott herself, a glittering gold cane the only concession to her age.

The major classical presentation of the evening was George Balanchine’s exquisite Raymonda Variations. Danced entirely by students, the strength and grace on display in Victoria Simon’s restaging of this pure piece of classical ballet indicated how well prepared graduating students are to move forward with their professional careers. The quality was completed by the recreation of Barbara Karinska’s original costumes, which featured heavenly shades of pale pink and ice blue. Principals Atau Watanabe and Callum Linnane exhibited the poise and polish of highly accomplished dancers, working together with notable synergy in their grand pas de deux.

The third section of the night brought together an eclectic mix of styles and featured some high profile guest dancers. Current stars of The Australian Ballet Adam Bull and Amber Scott joined a phalanx of some 14 male dancers for Paul Knobloch’s witty delight Valetta. Rowe herself surprised the crowd as the opening dancer for Areti Boyaci’s Soleá Por Bulería. Looking fit and eternally youthful in a stunning red flamenco dress, Rowe proved she still has “it.” Teachers Simon Dow, Joanne Michel and Lynette Wills also joined a selection of students for the lively sequence, which featured vocals by Lucía Leiva, and Werner Neumann on flamenco guitar.

Three works by Jiri Kylián completed the program, all performed exclusively by the students. Dream Dances began with a gorgeous pas de deux from Elise Jacques and Yipeng Xu, before Linnane again proved his power and flair in a thrilling solo. Chantelle van der Hoek and David Power next performed a cheeky pas de deux, which ended on a surprising upside down lift that drew appreciative gasps from the crowd. Evening Songs brought a change of pace as the dancers performed Kylián’s fluid, gentle choreography to the dreamy music of Dvořák. The grand finale was Piece d’occasion – Polonaise from Arcimboldo, a massed item from the entire company of Levels 6 to 8 students. Dressed in Joke Visser’s voluptuous, fiery red costumes, the dancers created physical fireworks before the climax showered the stage with a rain of actual golden sparks.

The highly memorable evening left no doubt that ballet in Australia is in a supremely healthy state, and should continue to be so for the decades to come.

The Australian Ballet School 50^th Anniversary Gala took place at State Theatre, Arts Centre Melbourne on 27 September 2014.

Commencing its 2016 Melbourne season in top form, The Australian Ballet continues its recent trend of exciting modern dance programs with Vitesse.

Following a style that began with Vanguard (2013), continued with Chroma (2014) and, arguably, peaked with 20:21 (2015), Vitesse features carefully curated modern works, high production values and thrilling ensemble work featuring dancers from all ranks of the company. If these evenings serve as a barometer of the health of the company, The Australian Ballet is in brilliant shape for 2016.

Drawing on the work of three truly great choreographers, Vitesse matches two classic pieces with an Australian premiere to create a pure dance program linked in style by the use of affective abstract formations.

Although Jiří Kylián created Forgotten Land about the evolving coastline of England, the work is a natural fit for an Australian company and audience given our connection to and appreciation of the land.

The piece has an extraordinary beginning, in which only the sound of wind accompanies the 12 dancers as they move in perfect unison without the benefit of the rhythm of music. Once the music begins, Britten’s Sinfonia da Requiem provides a melancholic atmosphere punctuated by resounding beats from the kettledrums and flares of energy from the brass.

The six couples are paired in complementary shades of rich earth tones, wearing loosely flowing garments designed by John F Macfarlane. Macfarlane’s scenic design is particularly striking, with muted chrome floor and burnished copper backdrop varying in appearance significantly as the lighting states change.

Deliberately breaking a stage rule, the dancers are first positioned with their backs to the audience, a decision that succeeds due to the unmistakable strength of the dancers physical presence. Kylián’s choreography has a spontaneous feel, particularly when mirroring the wave-like motion of the sea. Late in the piece, damage to the land is signified as each dancer leaves their partner and throws themself to the ground to the sound of ever diminishing bursts of fanfare. The three females that are left potentially suggest the promise of hope from Mother Nature.

After a protracted absence, it is wonderful to see highly popular Principal Artist Adam Bull back on the Melbourne stage. Ever a gracious leader, Bull once again demonstrates the tender, noble sensitivity that tempers his strength. Bull is beautifully partnered by Amber Scott, their work leaving the audience wanting more. 

Lana Jones and Rudy Hawkes dance the key duet in Forgotten Land, both personifying the tumultuous longing at the heart of the piece. Recently promoted Senior Artist Brett Chynoweth appears in excellent form. Dressed in vivid red, Vivienne Wong gives a particularly nimble eye-catching performance.

The second portion of the evening grabs the audience’s attention with an electric jolt from Willems and Stuck’s pre-recorded score as the curtain rises to reveal a vast black-box stage on which nine dancers sport variations of tight teal green Lycra. That electricity runs through William Forsythe’s In The Middle, Somewhat Elevated, as the relentless music and pristine variations create a mesmerizing effect on the audience.

Forsythe creates the lighthearted feel of a dance studio, with dancers swiftly switching between high performance mode and a more casual, slinky feel when on the sides of the stage. Keeping the stage in constant motion, each dancer has their own characteristic choreography. One fleeting moment of unison work makes a striking impression.

The combination of overhead lighting and the colour of the Lycra clearly shows every sinewy muscle on the dancers, often creating the sort of effects Hollywood achieves by sewing muscles into superhero costumes. Silken pointe shoes and bare limbs gleam in the white light.

Having shone throughout 2015, Kevin Jackson remains a superb leader. A gorgeous dancer to watch, Jackson enhances his physical strength by moving with a gentle flowing grace. Jackson is more than ably partnered in excellent pas de deux work by Robyn Hendricks. Ako Kondo also joins Jackson, exhibiting her characteristic elegance and flair.

Recently promoted to Soloist, fast-rising star Benedicte Bemet looks stronger than ever and delivers thrilling, highly focused work. Charismatic Principal Artist Daniel Gaudiello, his trademark flowing locks cropped to a leaner style, performs with reliable power and presence.

In the featured presentation of the evening, acclaimed choreographer Christopher Wheeldon’s Danse À Grande Vitesse (DGV) joins the repertoire of The Australian Ballet. Created for Royal Ballet in 2006, the ballet DGV is set to MGV, Michael Nyman’s music that was commissioned for the 1993 inauguration of the TGV high-speed train line in France.

The lights rise slowly to reveal a rear landscape of curved metal. Stiff bodies sway and weave, representing standing train passengers. As the work progresses, Wheeldon stages impressive sequences in which mechanical synchronised movement of the dancers represents perpetual motion. Joining four lead couples, the presence of the corps de ballet means that the stage can often be filled with dancers. Both unison and canon work are a delight to watch.

Amy Harris and Andrew Killian begin the journey with controlled, carefully measured strength. Hendricks and Jackson again shine in the large central pas de deux. Bemet and Hawkes are well matched in talent and commitment to beauty. In an all too brief cameo moment, agile Principal Artist Chengwu Guo, partnered by Kondo, displays his jaw-dropping speed and accuracy.

While Jean-Marc Puissant’s metal sculpture is most impressive, his costume designs are unattractive, using fabric that seems to represent the garishly streaked fabric of train seating.

Nyman’s score features pleasant music for the strings and mellow tones for the brass. Maestro Nicolette Fraillon presides over a seemingly effortless performance from Orchestra Victoria.

Lovers of modern dance will find plenty to enjoy in Vitesse.

Vitesse plays at State Theatre, Arts Centre Melbourne until 21 March 2016, and plays in Sydney 26 April – 16 May 2016.

Photos: Jeff Busby; (photo#2 Kate Longley)

The Melbourne return of Stephen Baynes’ Swan Lake is distinguished by absolutely superb lead performances from two of The Australian Ballet’s most loved Principal Artists.

Four years after its premiere, the production remains in pristine condition, with Hugh Colman’s grand, yet tastefully understated designs framing and supporting the dance without ever threatening to overpower it.

2012 lead pair Amber Scott and Adam Bull return to their roles with even greater depth of feeling and more finely finessed dancing in the iconic roles of Odette/Odile and Prince Siegfried. Still in their physical prime yet bearing the emotional intelligence that comes with maturity and extensive experience, the sensational work from the pair earned an all too rare standing ovation on opening night.

Finally donning a Prince’s tights again, the sight of Bull taking the lead in Melbourne is a welcome one indeed. Expertly conveying the full range of psychological overtones of Baynes’ staging, Bull owns the stage as he moves from the Prince’s melancholic dissatisfaction at his own birthday, through to his sheer delight at discovering Odette, on to his instant attraction to temptress Odile, concluding with the overwhelming sorrow that drives his final action. Keeping his early dancing muted and grounded, Bull’s tightly controlled explosion of energy in the Prince’s ecstatic act three solos is an incredibly thrilling sight.

Scott successfully creates two distinct characters, contrasting the timid fragility of Odette with the brazen sexual energy of Odile. Where Odile dances with languid fluidity, including sinuous representation of swan wings, Odette exudes dazzling flair.

While all of Bull and Scott’s solo and pas de deux work is first rate, the warmest applause and loudest cheers come for the central pas de deux in act two. Beginning with raw tension as notes are plucked slowly on the harp, the pair allows their characters’ repressed desire to gradually pour out as it is expressed through exquisite dance.

It is interesting to view the tale of Swan Lake in the context of the smash hit 2016 miniseries adaptation of War and Peace. Created within little over a decade of each other, the stories inhabit the same world of princes and palaces, marital and military glory. Baynes’ storytelling fills the scenes with living characters of all rank and stature, from princesses to peasants.

Majestically filling the State Theatre stage, Colman’s designs capture elegant old world grandeur while possessing a fresh, modern appeal. In act three’s great ball, the vivid purples and reds of the Cossacks and Spanish dancers stand out boldly against the dusky pinks and mauves and mossy greens of the corps de ballet. Odile’s black tutu seems adorned with the ominous silky thread of a spider web.

Rachel Burke’s lighting design covers scene transitions in inky blackness, allowing new elements to emerge as if by magic. Domenico Bartolo’s animated projections are used judiciously to suggest the arrival of the swan that becomes Odile then the flock that becomes the swan maidens.

Having worked with a great many of the world’s top ballet companies, visiting conductor Andrew Mogrelia makes a most auspicious guest appearance at the conductor’s podium. Mogrelia’s leadership of Orchestra Victoria is confidently assured, demonstrating clear familiarity with the tempi required for the choreography in this space.

The two balls feature wonderful work from the Prince’s trio of close friends. Dancing with carefree joy, in clear contrast to the despondent prince, Cristiano Martino beams with youthful fervour as Benno. Fast rising star Benedicte Bemet sports a glamorous Audrey Hepburn look as the Duchess, and Sharni Spencer is just as delightful as the Countess. Working closely with corps and Bull, this trio are chiefly responsible for making the dances appear fresh and spontaneous rather than looking like contrived divertissements.

The quality of the stunning contribution of the corps de ballet cannot be overstated. Dancing at the balls is wonderful, but it is the swan maidens who are truly mesmerising as they move in undulating waves as if propelled by an unseen spontaneous force.

Dancing the famous Cygnet quartet are Sarah Thompson, Eloise Fryer, Dimity Azoury and Jill Ogai, their deliciously precise work over all too soon.

Terese Power amuses in a charming cameo as Siegfried’s Nurse.

Grab the opportunity without hesitation if a ticket miraculously happens to come your way.

Swan Lake plays at State Theatre, Arts Centre Melbourne until 18 June 2016.

Photos: Daniel Boud

The Australian Ballet boldly rewards their audience and dancers alike with John Neumeier’s dramatic adult fantasia Nijinsky.

***Review updated after viewing second performance of Nijinsky, starring Kevin Jackson. See additional text and images below***

Performed by a company outside Hamburg Ballet for only the second time since its 2000 creation, Nijinsky is an extraordinary achievement for The Australian Ballet. A relatively simple idea at its heart, the abstract complexity and serious themes of the work give it an epic grandeur. The limits of the company are stretched not just by the unique mix of modern and classical dance required but also by the sheer number of dancers required on stage. The curtain call on opening night almost resembled a full company bow, and was greeted by the appreciative roar of a full standing ovation.

A highly personal work, the scope of the work is clearly due to the vision and driving passion of choreographer John Neumeier. Neumeier’s singular talent is further revealed by the fact that he took on the rare feat of also designing the scenery, costumes and lighting. The company has been blessed by Neumeier’s presence in the rehearsal and staging process, supported by his highly experienced colleagues from Hamburg and Canada.

The ballet has an unusual extended opening sequence. The audience enters the auditorium to find the curtain raised on a highly realistic scene of the ballroom at Suvretta House, St Moritz. With neither the traditional lowering of house lights nor entrance of conductor, the stage action begins with another ballet rarity: dialogue. Stylish guests gather in a flurry of excitement to see Vaslav Nijinsky dance, their high spirits somewhat dampened as the great man performs a jerky, unconnected series of moves that seem to flit from role to role.

Slowly, the house lights dim, the set melts away and the orchestra takes over the accompaniment, as Nijinsky travels feverishly through his memories of love and life on the stage. A tour through some of Nijinsky’s iconic roles, the ballet winds strands of madness, betrayal, passion and the brutality of war.

A principal of Hamburg Ballet and veteran of some 35 Neumeier ballets, guest artist Alexandre Riabko danced the title role on opening night. Riabko clearly has the work in his bones, and his talent blazes forth in every move. Furthermore, Riabko’s calm control and nuanced portrayal of inner turmoil add significant heft to the performance. The combination of thorough rehearsal and talent from both sides has allowed Riabko to work seamlessly as a member of the company, achieving a relaxed, intimate connection that usually derives from years of teamwork.

Effortlessly combining music from Chopin, Schumann, Rimsky-Korsakov and Shostakovich, maestro Nicolette Fraillon delivers a finely nuanced yet unshowy performance from Orchestra Victoria. Pianist Duncan Salton makes an invaluable contribution on stage in the opening scene.

Part one is a showcase for Neumeier’s ingenious designs, which draw significant elements from the great works to create a cohesive whole. There are moments of vivid colour and spectacular ballet as the reminiscences move in and out of Nijinsky’s mind. Neumeier’s lighting is especially creative, and looks stunning on the vast State Theatre stage. The act concludes with a return to Suvretta House, the various characters and dancers joining the original guests on stage in a collage of memory fragments.

Dressed in an elegant, floor length red velvet dress, Amy Harris gives a seductive performance as Vaslav’s wife, Romola. The character was not a dancer but Neumeier has choreographed the narrative for the role carefully and Harris dances and acts it exquisitely.

Nijinsky’s journey to the past is prompted by the appearance of his great love Diaghilev at Suvretta House. It is hard to imagine another dancer bringing the combination of confident magnetism, supple strength and tender passion that Adam Bull brings to the role. Bull and Riabko convey Diaghilev and Nijinsky’s nonverbal communication and lifelong bond vividly, and dance together with a sensuality that appears entirely natural.

Other clear highlights in part one include Christopher Rodgers-Wilson as the Young Man in Jeux, and Cristiano Martino as the Golden Slave in Schérhérazade. As The Ballerina, Ako Kondo performs a range of roles with reliable grace. Leanne Stojmenov elegantly dance roles played by Nijinsky’s sister, Bronislava.

The second half of Nijinsky has a change of tone, as the onslaught of World War One impacts the arts. The company performs in neutral, pale grey costumes as Nijinsky recollects his wife’s infidelity and his family’s own madness. The shadow of the war begins subtly, with first one soldier marching across upstage, then another, then another, until eventually all the male corps have army jackets over their dancewear. The male dancers rise to the challenge of the extra focus on their work, creating a combined strength that has an inspiring impact.

In a highly affecting performance, François-Eloi Lavignac shows incredible skill in portraying Stanislav Nijinsky’s madness and eventual death. Nijinsky’s grief and sense of helplessness for his brother are giving time and weight in the narrative, increasing the painful impact of events.

Another powerful highlight in act two is the work of Brett Simon as Petruschka. With the puppet’s strings cut, metaphorically, by the war, Petruschka flounders about in a painful reduction of his usual grace.

The madness that ended Nijinsky’s career is seen in a cruel light given his extensive contribution to the language and repertoire of ballet. Nijinsky is a fitting celebration of the legacy and a moving tribute to Nijinsky’s life.

Working on Nijinsky has clearly galvanised and inspired the company. With Coppélia on the near horizon for younger ballet audience members to enjoy, adult theatregoers will revel in the mature themes and highly intelligent staging of Nijinsky.

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A return visit to Nijinsky on Friday 16 September 2016 brought the very welcome opportunity to see Kevin Jackson in the title role.

This second viewing highlighted both the extraordinary level of ingenious detail in Neumeier’s creation and the magnificent, fully realised achievement of The Australian Ballet in staging the work. With the intricate combination of so many theatrical elements, Nijinsky stands as a highly affecting work of art that audiences are very fortunate to experience.

Featured in all the marketing and press in the lead up to the Australian premiere of Nijinsky, Kevin Jackson’s intelligent, subtly nuanced performance as Vaslav Nijinsky is of an unwavering intensity. Looking young and pure on the surface, Jackson’s physical performance conveys the heavy weight of Nijinsky’s madness, seeing the world around him with eyes that cannot process facts and cannot control the unraveling cavalcade of memories.

Usually found playing Princes in alternate casts, Jackson and fellow Principal Adam Bull had the rare chance to share the stage in Nijinsky. The pair’s work together is incredibly compelling, providing a fascinating chance to see two male colleagues dance together intimately with the trust of unspoken communication.

Jackson’s commanding focus supports the conceit that the entire fantasia on stage is deriving from Nijinsky’s meandering recollections of love and loss. Jackson’s performance is an absolute triumph, earning a very well deserved standing ovation from the appreciative audience, and even drawing hearty applause from the full cast on his final bow.

Principal Andrew Killian uses the ample length of his arms and legs to create an even more helpless, floundering feel for Petrouchka, as the tragic puppet is buffeted by the War.

Natasha Kusch is in her element as the Ballerina, adapting with exquisite flair to the look and style of each of the featured roles danced by Karsavina. Brett Chynoweth complements the strength of his physical recreation of the roles of Harlequin and the Spirit of the Rose with a haunting countenance that is very well aligned with Jackson’s expression.

Nijinsky plays at State Theatre, Arts Centre Melbourne until 17 September 2016 before touring to Adelaide and Sydney.

Photos: #1-#6 Jeff Busby; #7-#10 Kate Longley

Presenting an expertly curated mixed program, The Australian Ballet begins it Melbourne 2017 season in superb form. Faster showcases the company with a well-matched trio of cutting edge contemporary works, two of which are Australian premieres while the third is a world premiere.

As with the recent, very successful tradition of staging thrilling triple bills of modern dance, the program for Faster gives a clear view of the terrific strength of the current company of dancers. To see eight of the ten Principal Artists perform on the one evening is a genuine thrill. This is further enhanced by the chance to enjoy unique combinations, such as Adam Bull and Chengwu Guo dancing together at the beginning of Infra.

Created by choreographer David Bintley and his creative team in anticipation of the 2012 London Olympics, Faster is a real crowd pleaser. The piece has even more scope to be popular here given Australian’s love of sport.

As with all grand sporting competitions, there is a sense of spectacle about Faster. Modern athletic outfits are a natural fit for dance costumes. Becs Andrews initially outfits the dancers for a range of sports, before moving the full company to colourful lycra running gear. To see the dancers in fluoro runners, with girls’ ponytails flicking about as they move, gives the work a very distinctive aesthetic.

There are some lovely moments of humour of as the audience recognises which events are being represented. Swimmers take their blocks, basketballers dribble and weave, and Ben Davis trots by as a very serious walker. After representing the high beam, Nathan Brook and Richard House lift gymnast Amber Scott overhead through a range of gracious aerial arcs.

There is a climactic moment midway through the piece, in which all competitors dancers return to the arena stage to create a dynamic collage in which each sport is clearly discernible. While it seems for a moment that the piece is over, the energy changes dramatically to move on to an abstract pas de deux in which Ako Kondo and Andrew Killian create a fascinating range of contortions.

The pace rises again as running teams of various compositions perform intricate fast rhythms, climaxing with the full company on stage for a spectacular marathon led by Brooke Lockett.

Lighting is an integral element of Peter Mumford’s stage design. Green laser lines create running lanes, and the rear panel lifts to reveal the rich blue of the pool.

The score features a variety of fresh and exciting music by Australian composer Matthew Hindson. Orchestra Victoria, conducted by Nicolette Fraillon, contributes blazing brass, fluttering flutes and zany xylophones.

Having gained experience through the Bodytorque program and with previous mainstage pieces, resident choreographer Tim Harbour has created a work of great vision and maturity with Squander and Glory. Inspired by French philosopher George Bataile’s essay The Accursed Share, Harbour reflects on the fleeting nature of the spending of energy.

Accompanied by flashes of lightning, the curtain rises to reveal a striking visual image. Clad in black Keto Dancewear, the dancers begin as a bold group facing the audience. Upstage, a full size mirror effectively doubles the number of dancers on show, and creates the fascinating effect of watching the front and back of dancers simultaneously. Designer Kelvin Ho has also crafted a large, angular, abstract three-dimensional sculpture, which hangs overhead.

Squander and Glory is accompanied by Michael Gordon’s Weather One, a work of unrelenting intensity written for strings. Harbour’s choreography matches this intensity, with a flow of dancers performing with sharply focused power. In this world premiere performance, stellar work is seen from the combinations of Vivienne Wong and Kevin Jackson, Leanne Stojmenov and Jarryd Madden, and Brett Chynoweth, Jill Ogai and Marcus Morelli.

Midway through the piece, the house lights rise to reflect the eager audience, before gradually dimming to bring focus back to the cast. To answer the lightning flashes of the opening, the piece concludes with the sound of distant rolling thunder as the company members lie on the stage, their energy well and truly spent. The presence of the mirror particularly pays off in this final moment. As the last dancer joins the others in a circular arrangement on the floor, an appreciative sigh of satisfaction can be heard across the auditorium.

A creative force who has achieved international renown, British choreographer Wayne McGregor brings his 2008 work Infra to The Australian Ballet.

A fascinating slow burn, the piece has a unique visual style. The significance of the term infra is that the dancers perform below a full width LCD screen. Designer Julian Opie has crafted an intriguing animated series of people walking across the screen. Even though the heads of the figures are just circles, the realism of their physical movement and presence is striking.

As with the overhead figures, the dancers below have a series of journeys and interactions. McGregor’s work has a dazzling complexity; using a shared choreographic vocabulary, the dancers all perform unique movements. At one point there are six couples across the stage, with each pair having been given their own choreography.

After building to something of a frenzy, both on screen and on stage, the piece focuses again on individuals and couples. Jackson delivers a solo of sinewy strength and great depth of expression. Wonderful pas de deux work is seen from Wong and Christopher Rodgers-Wilson and Amy Harris and Bull.

Max Richter’s score for Infra is more of a soundscape than a traditional composition, making its performance all the more impressive. Simon Thew leads Orchestra Victoria for this third chapter of the evening.

Lucy Carter’s lighting leaves an ominous inky blackness at the rear of the stage, allowing dancers to appear and disappear quite magically.

Lovers of modern dance are sure to be thrilled by the exciting and imaginative work on display in Faster. The success of the program reflects the ongoing success of The Australian Ballet itself, as the company continues to flourish under stable, creative leadership.

Faster plays at State Theatre, Arts Centre Melbourne until 27 March 2017. It plays at Joan Sutherland Theatre, Sydney 7 April to 26 April 2017.

Photos: Jeff Busby

Positioning abstract modern dance alongside pure classical ballet, The Australian Ballet’s mixed program Symphony in C showcases not only the breadth of talent of the company but also the astounding versatility of the dancers.

***To read Man in Chair’s review of David Hallberg in Symphony in C click HERE.

Consisting of five short divertissements and one rather grand divertissement, Symphony in C has the vibrant feel of a Gala, and achieves the extraordinary distinction of featuring all ten of The Australian Ballet’s Principal Artists. A key attraction of the program is the inclusion of choreography by current company members Richard House and Alice Topp, clearly demonstrating the company’s dedication to its members and its commitment to new work. The work of House and Topp has featured in Bodytorque evenings, but this program, which premiered in Sydney last year, is their first inclusion in a mainstage presentation.

House’s From Silence opens the evening, beginning with the striking image of a woman, Amanda McGuigan, wearing a massive train of silky red fabric. Initially moving sinuously while remaining stationary, the fabric is ripped away, the Michael Nyman score begins and the piece comes to life as McGuigan is joined by Nathan Brook. In front of a towering abstract set piece (by Kat Chan), the first couple goes on to interchange with Amy Harris and Jarryd Madden. Lighting (by Graham Silver) is often dark to the point of almost just giving silhouettes of the dancers. The well-matched capabilities of the quartet makes for a fluid, continuous piece of dance that sets a high standard for the evening, and, indeed, leaves the audience looking forward to more.

Topp displays a keen sense of theatricality in addition to proven flair for modern dance. In Little Atlas, two men all but fight for one woman, passing her body back and forth in an intense piece of interplay. A tight circle of lights rises and falls, as does an elegant rear arc, standing out against an inky black background. Kevin Jackson demonstrates his supreme confidence as a leading man from the moment he steps on the stage, with Andrew Killian the perfect complement. Leanne Stojmenov is called upon to match the physicality of the men, which she achieves with terrific intensity. It is a joy to watch these highly accomplished dancers free from the constraints of character, just expressing their pure personal talent for dance.

Interspersed amongst these modern works are three highly traditional classical works.

No one wears a tiara like Lana Jones, and the pristine quality of her technical work in Grand Pas Classique completely belies the fact that this season marks her return from maternity leave. Male partner Brodie James is somewhat outclassed by Jones, but delivers excellent work in his first solo section. Momentum increases during the piece, leading to a satisfying finale.

The Pas de Trois from Imaginary Masque straddles the styles of modern and classical dance. Robyn Hendricks, Jarryd Madden and Nathan Brook perform Stephen Baynes’ sensual choreography to the stirring music of Ravel. A shimmering full size rear curtain is parted to reveal another layer of shimmering fabric, forming a glamorous backdrop to the expertly controlled movement and sheer strength of the dancers’ bodies.

Melbourne’s virtuosic sweethearts Ako Kondo and Chengwu Guo close the first half of the program with the thrilling Pas de Deux, Diana and Actéon. Dancing in front of a bright sunny horizon, each of the pair enters to warm welcome applause, and continually earn spontaneous bursts of appreciative applause throughout the piece. Both dancers have perfected the art of the miraculous mid-air pause in their leaps. Guo, in particular, raises the bar yet again in terms of gasp-inducing technical prowess.

After interval, the curtain opens on a crisp azure background, as the first of many corps de ballet dancers enter wearing immaculate white tutus. The four movements of Bizet’s score provided choreographer George Balanchine with the scope to encompass four couples, backed by corps de ballet, building to a spectacular massed finale. There is a deceptive simplicity to the choreography, which actually requires precise timing and exact placement. The company achieves this in abundance, presenting the beautifully symmetrical work at its best.

Stojmenov and Jackson dance the first movement: Allegro Vivo with utter confidence and charming elegance. With expertly calibrated control, highly experienced principals Amber Scott and Adam Bull bring out the elegant beauty of the deliberately slow second movement, Adagio. Kondo and Guo return for the third movement: Allegro Vivace. The piece does not give the scope for showstopping moves, but their work is perfectly lovely nonetheless. Also entitled Allegro Vivace, the fourth movement features Amy Harris and Ty King Wall, who complete the cycle with characterful flair and effortless athletic grace.

While Symphony in C may not cultivate the excitement of the modern triple bills that have become a recent staple, it is nonetheless a highly enjoyable pageant of pure dance and a wonderful opportunity to see all of the company’s Principals in the one showcase.

Symphony in C plays at State Theatre, Arts Centre Melbourne until 2 September 2017.

Photos: Jeff Busby

A dazzling diorama of stunning scenery and capricious choreography, Alice’s Adventures in Wonderland is a delectable delight for children and adults alike.

Premiering in 2011, Alice’s Adventures in Wonderland was the first full length new work at Royal Ballet in almost 20 years. Supported by the extraordinary designs of Bob Crowley, choreographer Christopher Wheeldon has crafted a grand and glamorous work that transcends the ballet stage to take its place as a significant theatrical work of broad appeal.

When Alice tumbles down the rabbit hole, she is briefly portrayed by a doll-like puppet. This turns out to be a very good match, as “doll-like” is a perfectly apt description for Principal Artist Ako Kondo’s performance in the massive title role. Off stage for barely a few minutes, the dancer playing Alice must extend her usual range of dance to include puppetry and interaction with multimedia. Kondo makes the entire affair look a breeze, successfully replacing her usual crisp precision with a highly endearing sense of playfulness and spontaneity.

Being rather heavy on narrative and incident, dance purists may lament the relative lack of full-blown dance scenes. Wheeldon follows the text of Lewis Carroll’s treasured novel closely, saving moments of large-scale dance for when they are required fit the story. Much of act one sets the scene, with the proportion of dance increasing in acts two and three.

Act two’s waltz of the flowers is a gorgeous homage to traditional story ballets, at once a tribute and also a nimble update. Crowley’s fluffy floral costumes enhance the dance with their air filled lightness and gorgeous spring colours. A later piece salutes the jerky precision of modern dance, with the corps de ballet portraying a deck of cards. Again, Crowley deals a winning hand, with the suits adorning the girls’ tutus only visible when they bend over forwards.

Every cent of the budget is visible on stage in this extraordinarily lavish production. Further highlights of Crowley’s design include, but are certainly not limited to, the Caterpillar’s silken body, the Queen of Hearts’ glossy red transports and the sepia-toned Victoriana prologue. Clever complementary costumes provide a Wizard of Oz-like link between the characters of the prologue and their Wonderland counterparts, illuminating the origins of Alice’s dream in deft strokes.

The theatrical artistry continues with Toby Olié’s balletic puppetry design and Jon Driscoll and Gemma Carrington’s beautiful animated projections. In conjunction with Natasha Katz’s lush lighting, these aspects fluidly combine for a magical overall effect.

Joby Talbot’s fresh, instantly accessible score is alternately festive, whimsical, romantic, exotic, mysterious and dramatic. In short, it is the exact aural embodiment of the rambunctious visual action. Maestro Nicolette Fraillon delivers a masterful performance of the score, with Orchestra Victoria bringing out the distinctly percussive character of the musical landscape with immense flair.

Wheeldon’s fertile choreographic imagination yields a host of roles that extend the performance styles of the dancers far beyond the usual lovelorn Royals of fairy tale ballets.

Following the sharp comedic talents she displayed in Cinderella, Senior Artist Amy Harris is an inspired choice to play the malevolent Queen of Hearts, whose own scene-stealing nastiness trips her up repeatedly. Skewering Petipa and Tchaikovsky, the Queen’s tart adagio delights classical cognoscenti, stealing back the realm of physical parody from Les Ballets Trockadero de Monte Carlo.

Playing completely against type, proven alpha male Guest Artist Steven Heathcote is a hoot as the Queen’s hen-pecked husband, who lives, literally, under his wife’s skirts. In a climax that nods to Carmen, the King makes swift use of a dagger and the Queen’s house of cards comes tumbling down.

Well accustomed to playing noble Princes, Adam Bull illustrates the depth of his acting talent as he brings out all the quirks and twitches of the skittish White Rabbit. Fellow Principal Artist Kevin Jackson is similarly unrecognisable as the manic Mad Hatter, in which he displays a latent talent for tap dance, delivering crisp, expressive beats.

One of Wheeldon’s key amendments of the novel is to have Alice old enough to have a romantic crush on the groundskeeper’s son, Jack. This character continues into Wonderland as The Knave of Hearts, who is similarly under threat of punishment for his fondness for jam tarts. Completing the line up of Principal Artists, Ty King-Wall brings a boyish charm to these dual roles. The Knave of Hearts is probably the blandest of the colourful characters, but his romantic attention from Alice provides a solid arc that is very neatly realised in the brief epilogue. Kondo and King-Wall maintain an ongoing tension to their pas de deux, which are threaded throughout the ballet. While they are not given dance as grand as in a classical ballet, their work is characterful and both give highly polished performances.

In a fully realised feat of physicality, Senior Artist Jarryd Madden captures the slinky sensuality of The Caterpillar. Soloist Ben Davis is quite hilarious as The Duchess, a camp yet crucial character who seems to have blown in from a traditional English pantomime.

Special mention goes to Corps de ballet members Lucien Xu and Shaun Andrews, who neatly blend quirky physical characterisation with pristine dance in the featured roles of Fish and Frog.

Melbourne theatregoers who are lucky enough to have secured tickets to Alice’s Adventures in Wonderland are in for a real treat. Remaining tickets are scarce, but might be available for those who do not want to miss out on this sumptuous stage spectacle.

Alice’s Adventures in Wonderland plays at State Theatre, Arts Centre Melbourne until 30 September 2017.

Royal Ballet principal Lauren Cuthbertson, upon whom Wheeldon created the role of Alice, performs the role in Melbourne on 13 and 15 September 2017.

Alice’s Adventures in Wonderland plays at Capitol Theatre, Sydney 5 – 22 December 2017.

Photos: Jeff Busby

Lovingly re-polished, The Australian Ballet’s precious gem The Merry Widow sparkles again in an evening of pure entertainment.

The 1975 production fills the mighty State Theatre stage with luscious colour and a cavalcade of dance, looking as though it was custom designed for the space. The first full-length work commissioned by The Australian Ballet, the frequently performed production has been off our stages for some seven years, making the return of The Merry Widow all the more welcome.

Lehar’s operetta The Merry Widow is arguably the most famous and popular of its genre. Stripped of dialogue, the score is like to a greatest hits album, where the eminently hummable tunes keep oncoming in quick succession. John Lanchbery’s arrangements allow the orchestra to “sing” the classic songs, which were carefully chosen to complement the action.

Conductor Simon Thew leads Orchestra Victoria in a splendid performance of Lehar’s much-loved score. Lanchbery’s orchestrations share the love right around the pit, and the full orchestra contributes to the spectrum of Viennese colour that matches the level of sparkle on stage to perfection.

In place of the operetta business with Valencienne’s fan, the key ballet prop is a large orange handkerchief that Hanna (the titular widow) gave Count Danilo when they first met. Running parallel to Hanna and Danilo’s rocky reunion is the secret romance between Camille de Rosillon and Valencienne, wife of Baron Zeta. Newcomers are recommended to become familiar with the story (illustrated very effectively here) so as to fully enjoy the performance.

Credited with crafting the scenario, Robert Helpmann has imbued The Merry Widow with delightful theatricality and gentle humour. Ronald Hynd’s masterful choreography eschews traditional spectacle for characterful, humorous, highly romantic dance that derives organically from the story. Hynd’s ever evolving formations are a joy to watch, and his frequent male corps work gives the ballet a sense of robust energy.

Costumes and scenery are integrated in the way that is only possible when one person designs both. For each of Desmond Heeley’s settings to receive applause more than forty years after their creation speaks mostly to his ingenuity but also includes the care with which the designs have been refurbished. Settings create a three dimensional effect in way that has rarely been bettered, and the whole decadent belle époque world looks wonderfully sumptuous.

Also benefiting from refurbishment, Heeley’s costumes gleam and jewelry sparkles. At the Embassy Ball, women wear long ivory skirts adorned with runs of blossoming flowers. Dressed in the Pontevedrian finery, the corps wear red satin that shines with an inner fire. Hanna’s widows weeds progress from subtly highlighted black to elegant white, with her enormous feathered coat for Chez Maxime a highlight in its own right.

Seven years after her retirement, former Principal Artist Kirsty Martin returns to The Australian Ballet stage as if she had never missed a day. Martin has a sense of old world glamour that befits Hanna perfectly, and her inherent stagecraft and elegant charm magnetism are additional draw cards. Martin captures the deliberately grounded elegance of the role, giving off sparks of attraction as the romantic story unfolds.

Marking ten years as a Principal Artist, Adam Bull not only dances with crisp regality but also adds depth to Danilo thanks to his finely honed talent for longing looks and physicalised yearning. While there is never any doubt of a happy ending, Bull and Martin enjoy strong chemistry, and their characters’ moments of sorrowful separation spark palpable pangs rom the audience.

Leanne Stojmenov is a delight as the doll-like Valencienne, playing the young woman with such unbridled joy that the thought of adultery never enters. Valencienne’s aged husband’s ultimate acceptance of his wife’s young lover works in a natural fairy tale type of way.

As Camille, Andrew Killian is a storybook prince, dashingly handsome in military attire yet warmly romantic and attentive as a loving partner.

Having played the role in the original 1975 season, Colin Peasley brings extraordinary history and character to the stage as Baron Zeta. A masterful comic and a generous scene partner, Peasley remains effortlessly light on his feet.

Nimble artist Franco Leo adds further comedy as ever-suspicious embassy secretary Njegus. Marcus Morelli creates a memorable impact with his highly athletic work as the featured Pontevedrian Dancer. Luke Marchant ramps up the physical comedy as the flustered Maitre d’ of Chez Maxime.

A sunny joy from beginning to end, The Merry Widow is the winter warmer Melbourne needs. Lovers of traditional, old-fashioned glamour will swoon to the return of The Merry Widow.

The Merry Widow plays at State Theatre, Arts Centre Melbourne until 16 June 2018.

Read the The Merry Widow casting list.

Read a fascinating history of The Australian Ballet’s The Merry Widow by Deborah Jones.

Photos: Jeff Busby

The Australian Ballet accentuates the elegant beauty found in streamlined modern dance with a well-matched trio of works that form the program of Verve.

Broad similarities in structure allow the three works to seamlessly complement each other, yet this same aspect robs the evening of a standout moment or conceptual highpoint.

Mixed programs bring the opportunity to see more than two Principal Artists on the one night. Verve is no exception, delivering four Principals on opening night, and yet what is most striking is the splendid evenness of the work of dancers of all rank in these three ensemble pieces.

Resident choreographer Stephen Baynes’ 2007 work Constant Variants is first on the bill, setting a tone, style and quality of dance that will be followed throughout the program. Eight dancers grace the stage in pairs before moving on to various combinations. Abstract individuality gives way to moments of clean synchronicity and symmetry, with sections of the work punctuated by some striking lifts.

Designer Michael Pearce provides massive corners of frames overhead, suggesting travels in an art gallery. All wear brief black trunks, the men in sheer black tops and the women sporting dark burgundy bodices. Jon Buswell’s lighting allows dancers to magically emerge from the inky blackness upstage.

The accompanying score is intrinsically embedded in the piece. Tchaikovsky’s “Variations on a Rococo Theme” has a classical purity with an edge of excitement that comes from the expert cello solo of Teije Hylkema.

Coryphée Alice Topp has been gradually building a choreographic body of work, and word premiere Aurum represents a significant step forward. Beyond the quality of the choreography itself, Aurum (the Latin word for gold) is emboldened by a very clear sense of confidence in its creation. Topp has crafted an abstract ballet with a fascinating and very well realised theme, and has staged the work with a keen eye for striking visual effect.

Topp connects kintsugi, the Japanese practice of highlighting repairs in gold, to the concept of humans embracing scars that have transformed their lives. Twelve dancers begin in pairs, with a male dancer curved at each female dancer’s feet. Topp’s costume design links the male/female pairs in that men wear white pants while women white tops (over the briefest of trunks).

Buswell provides synergetic design in which the flooring, lined with cracks, rises to form a backdrop. Rear lighting gives the cracks the appearance of veins of gold.

Topp achieves particular success in achieving energy and interaction between dancers. The second movement is a fiery pas de deux between Adam Bull and Coco Mathieson which reads like a passionate domestic dispute between lovers. This feeling is resolved in the fourth movement, in which Kevin Jackson and Leanne Stojmenov dance a lovely pas de deux that conveys the beauty of tender, romantic love.

Energy reaches a peak as all twelve dancers take to the stage in the third movement. Brimming with verve, this exciting sequence scores the most enthusiastic applause of the evening.

First seen in 20:21, (2014) fellow resident choreographer Tim Harbour’s Filigree and Shadow returns to neatly complete this program. Set to a crackling musical soundscape by 48nord (Ulrich Müller and Siegfried Rössert), the whirlwind work is performed with fleet, nimble energy.

In an interesting casting move, the twelve dancers are taken from all ranks except Principal, giving a range of dancers the chance to shine. Brett Chynoweth, Marcus Morelli and Shaun Andrews perform a crowd-pleasing pas de trois. Gender neutral sheer black costumes allow combinations of dancers to flip and change with no particular emphasis on male/female combinations.

The towering white walls of Kelvin Ho’s set design create an imposing backdrop, as well as allowing Benjamin Cisterne’s dramatically swift lighting transitions to be seen to best effect.

Described by Harbour as the representation of birds surviving a hurricane, Filigree and Shadow builds to a frenzied peak and then leaves the dancers lying spent across the floor.

Lovers of modern dance are sure to enjoy the chance to see performers of such high caliber in Verve.

After the curtain, artistic director David McAllister announced the recipient of the 2018 Walter Bourke Award: corps de ballet dancer Mason Lovegrove.

Verve plays at State Theatre, Arts Centre Melbourne until 30 June 2018.

Read the Verve casting list.

Read the Verve program notes.

Photos: Jeff Busby

The Australian Ballet heads straight back down the rabbit hole, returning award-winning 2017 hit Alice’s Adventures in Wonderland to the Melbourne stage for a very welcome encore season.

At a time when it feels like all the world’s ballets and operas have already been written, the success of Alice’s Adventures in Wonderland shows what can be achieved by investing and believing in new talent. One of the very rare full-length classical works to be written in this decade, the ballet is all the more remarkable for the sheer level of enjoyment it brings.

A co-commission of The Royal Ballet and National Ballet of Canada, the 2011 work crystallises the creative choreography of Christopher Wheeldon with stunning designs by Bob Crowley, neatly integrated projections by Jon Driscoll and Gemma Carrington, and inventive puppetry by Toby Olié. Over and above the achievements of these artists, the true hero of the piece is arguably Joby Talbot, whose full-length original score is an absolute delight, intrinsic to every element of the ballet’s wondrous appeal.

In addition to sweeping melodies, Talbot has infused the score with a sense of time-ticking tension that connects the scenes into a cohesive whole. Percussion is extensively featured throughout the music, often with unusual sounds and challenging rhythms. Conductor Simon Thew leads Orchestra Victoria in a virtuosic performance, which was deservedly met with great acclaim on opening night.

The chance to watch Alice’s Adventures in Wonderland again not long after its Melbourne premiere season brings the added satisfaction of observing myriad details. A double page spread in the program illustrates how each guest in the garden party prologue becomes a vivid character in Wonderland, and Talbot’s motif for each character can be heard as they arrive. Visual clues are sprinkled through the whirling projections that accompany Alice’s rabbit hole descent. When one of the Queen of Hearts tart adagesuitors is to be beheaded, his corpscard deck partner runs offstage after him in tears.  And the instant attraction between bloodthirsty blade wielders The Cook and The Executioner is wickedly funny.

As well as taking home the Helpmann Award for Best Ballet at the 2018 ceremony, the production also earned a Best Female Dancer Award for principal artist Ako Kondo, who reprised her delightful performance on opening night of this return season. On stage for basically the entire show, Alice is required to dance and interact with every character, navigating a cornucopia of styles and vibes. Kondo has the gracious stage presence to yield to each stage partner whilst gently maintaining her own spotlight. The role does not offer any full-blown fireworks, the inspiring effect is simply the impressive sum total of the evening’s parts, the accolades coming for the delicate magic of the overall effect.

As a sign of the current depth of talent at the company, the demanding role of Alice is being danced by no less than seven artists across this extended Melbourne season.

Opening night also brought the chance to see three of The Australian Ballet’s five male principal artists in action. Ty King-Wall is an endearingly boyish Knave of Hearts, convincingly holding Alice’s heart with his heroic charm. King-Wall and Kondo enjoy easy chemistry, and their expressive pas de deux are a pleasure to watch. Adam Bull immerses himself completely in the ticks and tension of The White Rabbit, performing a characterful solo at the top of act three. Andrew Killian shimmers with slinky sensuality as the chemically enhanced Caterpillar.

In the crowd-pleasing role of the vaingloriously villainous Queen of Hearts, Valerie Tereschenko expertly conveys the full humour of the character, scoring abundant laughs as the Queen’s own vitriol upends her attempts at elegant dance.

Jarryd Madden delivers the crisp tap beats of The Mad Hatter, his precise percussion becoming almost another instrument in the orchestra.

Special mention goes to Yichaun Wang, Luke Marchant, François-Eloi Lavignac for their fleet footed performance as the Three Gardeners.

David McAllister plays the Widow TwankeyThe Duchess with highly amusing aplomb. Perhaps the disappointment of McAllister’s 2020 resignation as artistic director will be eased with news of him gracing the stage as the Widow Simone in a long overdue revival of La Fille mal gardée.

Man in Chair was accompanied by Miss Eight, aka Niece in Chair, who decreed the dance of the flowers her favourite moment for the light and colour it brought to the stage. She was also totally taken by the adorable little hedgehogs who serve as the balls in the Queen’s croquet match.

With a running time of almost three hours (including two intervals), the 7.30pm sessions are a late night for young theatregoers, but matinees and 6.30pm performances should be much more manageable. Far from being just for children, Alice’s Adventures in Wonderland is first rate entertainment for all ages. Fans of musical theatre are an obvious crossover audience for the piece, with the scale of production even surpassing the usual Broadway standard.

Alice’s Adventures in Wonderland plays at State Theatre, Arts Centre Melbourne until 22 June 2019.

Read the casting for Alice’s Adventures in Wonderland.

Photos: Jeff Busby

Brilliantly bolstered and boosted, Stanton Welch’s new Sylvia enlivens and enhances the 1876 original for an evening of pure theatrical enchantment.

Although its uninspiring plot saw Sylvia almost forgotten, Léo Delibes’ gorgeous music and the ballet’s charming Arcadian setting attracted choreographer Frederick Ashton to revive the work for The Royal Ballet in 1952, finally popularising Sylvia with a production that has been cherished in the ensuing decades.

While “new” productions often just involve a bit of tweaking and updating here and there, this 2019 co-production from Houston Ballet and The Australian Ballet has the status and significance of a major, original new work. Drawing from the same well of Greek mythology, Welch has flanked Sylvia with another two strong female characters, entwining the tales so deftly that it is hard to believe that the enhanced storytelling was not always there.

To aid theatregoers in their approach to this Australian premiere, foyer attendants wearing pastoral costumes distribute a handy colour-coded guide before the show. A study of the synopsis pays dividends while watching the performance. Not only are there around 30 named characters, but some of the early plot points zip by quite briskly. The inclusion of two intervals in the 145-miniute running time brings ongoing chances to study the form.

Encompassing the realm of Olympians, demi-gods and mortals, Sylvia is linked by a prescient theme of female power. Goddess Artemis loves Orion but is cruelly tricked into killing him by her jealous twin brother, Apollo. Love god Eros is sent to kill beautiful human Psyche, but quickly falls in love and marries her. Sylvia leaves Artemis’ army, falling instantly in love with The Shepherd thanks to a spell cast by Eros.

The intricacy of Welch’s work showcases a huge cast of dancers across a range of ages. A key feature of Welch’s choreography is his nod to classical styles and patterns, particularly those related to Greek dance or imagery. The various pas de deux are inventively conceived; if deliberately light on spectacle for spectacle’s sake, they are high on intriguing characterful details.

Welch’s vision for fluid storytelling is aided by elaborate projections from Wendall K. Harrington, which play across a vast layered setting designed by Jérôme Kaplan. From flowering fields to fiery furnaces, the animated projections conjure multiple locations as well as creating special effects, such as the trajectory of arrows fired by Artemis’ army. Extensive use of projections constricts the lighting design of Lisa J. Pinkham to relatively dim tones; key action remains clear, yet background details are sometimes difficult to discern.

The backdrop itself is a series of textured brown panels, giving the sense of peering into a portal torn into the earth. Given the scale of the production, and its perfect fit in the State Theatre, it is hard to imagine how Sylvia will fit on the stage of the Joan Sutherland Theatre for the Sydney season.

Kaplan supports the storytelling with signature colours for the three female lead characters and their lovers. In the absence of tutus, women wear beautiful flowing ankle-length gossamer gowns or sport smart metallic tunics that are crisp yet practical. The four playful Fauns spin the fringing worn on their legs to great effect.

Maestro Nicolette Fraillon, music director of The Australian Ballet, leads Orchestra Victoria in an exquisite performance of Delibes’ delightful score, achieving particular success with the gentle pastoral sequences. The fine delicacy of these softer passages leaves room for resounding brass to herald the arrival of warriors. Such is the quality of the musical performance, it would readily provide a satisfying evening of entertainment in its own right.

Ako Kondo delivers another delightful lead performance, infusing the noble Sylvia with a charming sense of amusement. Kondo is at her very best as Sylvia falls in love with The Shepherd, dancing to “Valse Lente” in a sweetly comical pas de deux for the ages.

As The Shepherd, Kevin Jackson begins with rather stilted movement, performing Nijinsky-like moves to portray the young man’s melancholy. In a twist of gender expectations, The Shepherd defers to the bravery and invention of Sylvia, and Jackson takes on this supporting aspect of the role with customary grace.

In a clever and very appropriate piece of guest casting, the Older Shepherd is played by David McAllister, whose long-term reign as Artistic Director of The Australian Ballet gives this fatherly role a special significance.

Robyn Hendricks conveys the serious command and centred focus of Artemis, keeping a sense of power with the young goddess even when she is influenced by romance. Adam Bull makes the most of the relatively small role of Orion, sadly dispatched in act one, returning to the stage at the end of the night for a dreamy final pas de deux with Hendricks.

In her first Melbourne opening night performance since becoming a Senior Artist, Benedicte Bemet is at her most charmingly winsome as capricious maiden Psyche. Pretty in pink, Bemet effortlessly captures the serene sense of beauty that draws such jealousy from Aphrodite, making a striking impact from her first solo.

In another standout performance, arguably his best to date, Marcus Morelli is in electric form as mischievous love god Eros, dancing with soaring yet expertly controlled athletic power and actively engaging the audience with his delightful character.

Natasha Kusen catches the eye as vainglorious Aphrodite, lacing the malevolence of the insecure goddess with the cat-like smile of a soap opera villainess.  Sporting a vivid blonde wig, Jake Mangakahia smoothly captures the entitled arrogance of handsome god Adonis.

Special mention to the four Fauns, Yichuan Wang, Cameron Holmes, Shaun Andrews and Drew Hedditch, each of whom not only dances with exciting athleticism but also infuses their role with distinctive character.

A gift from the Gods of theatre, Sylvia is a special work that is set to amuse and delight appreciative audiences.

Sylvia plays at State Theatre, Arts Centre Melbourne until 10 September 2019.

Sylvia plays at Joan Sutherland Theatre, Sydney Opera House 8 – 23 November 2019.

Read the Melbourne casting for Sylvia.

Photos: Jeff Busby

The Australian Ballet returns the mixed contemporary program to the stage, showcasing the depth of talent in the company with Volt. Bookended by an almost too well-matched pair of Wayne McGregor works, the evening belongs to Alice Topp, whose world premiere piece Logos proves an unforgettable highlight.

Previously seen in Melbourne as the centrepiece of 2014 mixed program Chroma, 2006 ballet Chroma again provides the opportunity to see multiple Principal Artists share the stage. Six of the twelve current Principal Artists join four fellow dancers in Moritz Junge’s androgynous costume designs.

John Pawson’s white box stage has a striking impact at curtain, McGregor’s concept of “absence” well realised in the stark simplicity. While some of Lucy Carter’s lighting is frustratingly dim, it certainly avoids any distraction on the eye other than sharp focus on the dancers.

The music of Chroma transitions from gentler sequences to rousing periods of intensity. Composer Joby Talbot has arranged his music and that of fellow composer Jack White III (of The White Stripes fame). Across the full program, maestro Nicolette Fraillon exhibits the breadth of her musicality, conducting Orchestra Victoria in a seamless blend of styles.

Masterful Principal Artists Kevin Jackson and Ako Kondo make a compelling pair. Kondo displays particularly elastic flexibility paired with high tensile strength in contorting her body to McGregor’s distinctive positions.

McGregor’s mix of sharp mechanical moves and elegantly fluid curves sits particularly well on Adam Bull, his elegantly muscular long limbs well utilised in crisp movement.

Principal Artist Brett Chynoweth is characteristically expressive, even within the rigid and exacting movement. Soloist Nathan Brook is a standout of Chroma, giving an exciting performance in a pas de deux with accomplished Soloist Imogen Chapman.

The final full ensemble section of Chroma moves to a frenzied climax. Precision of positions and frequent switching of partners requires trust and teamwork, qualities the dancers appear to have in abundance.

Burgeoning choreographer Alice Topp takes another quantum leap with Logos, an ingeniously conceived piece that deftly builds to a stunning coup de théâtre. The title of the ballet is a Greek word, meaning reason or logic; the word logos led to the creation of Logotherapy, centred on the principle that finding meaning in life is the primary motivational force for survival.

The black curtain rises on a pair that could represent a couple, or, according to program notes, could be a person facing the embodiment of their inner demon. Returning as a guest artist, former Principal Artist Leanne Stojmenov takes the form of a petite doll next to the hulking presence of Callum Linnane, shirtless, as are all the men in the work. In an emotionally charged pas de deux, Stojmenov and Linnane remain in close physical contact for almost the entire time, the opening sequence achieving extra impact by beginning and ending in silence.

Giving a clearly contemporary feel, Topp dresses the women in blue or green dresses, their hair allowed to flow naturally. The gentle serenity of Ludovico Einaudi’s score is enhanced by the piano performance of Kylie Foster.

In her first Melbourne performance since being appointed Principal Artist last year, Dimity Azoury affectingly conveys the numb pain of heartbreak and inner doubt, capably supported by the calming strength of Jackson. Seemingly effortless in his strength, Bull gives another magnetic performance, more than ably partnered by Coco Mathieson.

Designer Jon Buswell creates an air of mystery, backing the stage with a huge framed mirror that subtly reflects the dancers. Sharp squares of light seem not just to highlight the pairs of dancers but to deliberately contain them in set spaces. Even the haze appears choreographed, gently rising overhead to fill the space.

As Logos builds, the stage tabs fly out, the dancers move downstage or offstage and suddenly the “mirror” falls flat to the floor, sending a mushroom-like cloud of smoke into the auditorium. Topp gives the effect room to resonate, as the audience applauds wildly, mouths agape. A cleansing rain then begins to fall, its sound crisp and comforting as it lands on the canvas fabric of the mirror. Bull and Mathieson dance a final stirring duet in the rain. On opening night, Logos earned a very well-deserved full standing ovation.

After a second twenty-five-minute interval, the program concluded with a revival of McGregor’s Dyad 1929. Having its world premiere at The Australian Ballet in 2009, the work was seen again as part of 2013 mixed program Vanguard.

With a stage concept by McGregor and Carter, Dyad 1929 has a particularly impactful backdrop, with a white floor and rear wall studded with evenly spaced black dots. Junge outfits the dancers in a mix of nude beige and black & white tightly fitted, brief costumes.

The music of Steve Reich, entitled “Double Sextet,” features a driving, insistent pulse, tempered with moments of gentler longing. Featured musicians Stefan Cassomenos and Duncan Salton deliver excellent work on piano.

After the emotion of Logos, there is an inescapable sense of dryness to Dyad 1929, yet the work provides abundant opportunities for the dancers to shine. Given the company’s general tendency towards classical ballet, the fact that the dancers are so completely adept at modern dance is a huge testament to the depth of their skills.

The twelve dancers, ranging from Coryphées to Principal Artists, work as an evenly matched team, with no dancer more important than another. Dyad 1929 is at its best as it builds to the finale, bringing together various combinations of dancers for a final massed effect.

Full credit to Topp for dancing in Dyad 1929 on the same evening as the world premiere of her new work Logos. Where else on the world stage would or could that feat be equalled?

Special mention must also be made of Bull, who technically fits the bill of elder statesman and yet continues to be seen at the peak of his career as a thrillingly fresh and vibrant dancer. Appearing in all three works on opening night of Volt was an extraordinary feat from Bull, yet one that he all too capably takes in his stride.

Volt is scheduled to play at State Theatre, Arts Centre Melbourne until 24 March 2020. With necessary government-imposed restrictions on large gatherings set to take effect from Monday, it is not clear at this point how much of the season of Volt will be seen. It is at least clear that Volt will play two performances Saturday 14 March 2020.

Volt plays at Joan Sutherland Theatre, Sydney Opera House 3 – 22 April 2020.

Footnote: It is a disappointing oversight that Guest Artist Leanne Stojmenov, while listed on the cast sheet, is not afforded a biography or photo in the souvenir program.

Read the Melbourne casting for Volt.

Read the Volt program notes.

Photos: Jeff Busby