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

With gala presentation Summertime at the Ballet, The Australian Ballet makes a triumphant return to the stage, the stellar quality testament to the sheer determination and dedication of the dancers and musicians to maintain peak form during an extended period of extraordinarily adverse conditions. 

For the pure joy of Summertime at the Ballet, audiences owe a massive debt of gratitude and congratulations to the company’s management for the vision and fortitude that has brought this all too short season to life. 

While renovations are completed at The Australian Ballet’s regular home of State Theatre, Arts Centre Melbourne, MC Arena at Melbourne Park proves a surprisingly inspired choice of alternative venue. Perfectly comfortable, the modestly sized arena has a welcome sense of intimacy and excellent sight lines. 

In a novel, but possibly quite necessary, approach, the dancers are seen warming up on stage before the show and during interval. Keen audience members will want to skip the queues for hot chips and take their seats around an hour before curtain to take the chance for a candid look at their favourite dancers at work.

Bringing the dancers as close as possible to the audience, the musicians of Orchestra Victoria are positioned at the rear of the performance space, their elevated platform providing a crisp black backdrop for the stage action. Excellent sound design boosts the music with amplification while still allowing natural subtlety and a full range of dynamic expression.

Much as the program of Summertime at the Ballet is a dazzling showcase of dance, the musical selections provide equally impressive opportunities for the musicians to demonstrate their skill. Maestro Nicolette Fraillon deftly leads the musicians through a brisk range of styles, showcasing the work of seven composers. At the beginning of act two, the overture of The Merry Widow is a sparkling highlight. 

In the absence of any scenic design elements, lighting designer Jon Buswell provides visual distinction, crafting designs that evoke each production in their original theatrical form. 

Following Delibes’ charming “Les Chasseresses” from Sylvia, the dance program begins with a generous excerpt from La Bayadère. New artistic director David Hallberg stages Petipa’s choreography with clear confidence, delighting the audience with the gradual, mysterious appearance of the female corps de ballet in “The Kingdom of the Shades.” 

A feature of Summertime at the Ballet is the inclusion of all ten Principal Artists. A proven character performer, Amy Harris makes a relatively rare appearance in a princess-like role, bringing delicate doll-like precision to Nikiya. As Solor, Ty King-Wall uses his lovely long limbs to neatly shift between shows of strength and plaintive longing.

In sharp contrast, the stage then crackles with electricity with a thrilling modern trio form Tim Harbour’s Filigree and Shadow, first seen in 2015’s 20:21. Despite the low volume of the recorded music (by 48nord), Jill Ogai, Marcus Morelli and Shaun Andrews generate ample excitement, with the dynamism of the trio making excellent use of the large performing space.

The excerpt works perfectly well out of context of the full piece, with the sudden blackout of the finale drawing gasps from the audience. Coryphée Andrews really shows himself as a dancer to watch with his electrifying work here. 

Elder statesmen Adam Bull and Amber Scott conjure a languorous sense of romance as they practically dissolve into the gorgeous music of Handel. Sensual and utterly swoonworthy, the dance practically appears to be occurring spontaneously rather than choreographed. 

Given that Stephen Baynes’ Molto Vivace was set to be the centrepiece of 2020 mixed program Molto, the chance to enjoy this charming pas de deux in Summertime at the Ballet is a welcome one indeed. 

As counterpoint for the female corps in La Bayadère, excerpts from act one of 2018’s Spartacus is a worthy showcase for the male dancers, in all their bloomer-clad glory. Lucas Jervies’ choreography retains its masculine power, right down to the authentic accuracy of the punches in the fight scenes.

Sporting an Adonis physique that would make an AFL footballer weep, Soloist Jake Mangakahia captures the tense physicality of Spartacus’ rage against captivity. Also capable of tenderness, Mangakahia clearly conveys that the appearance of Flavia is but a dream. 

Act one sees a worthy finale with selections from act three of Don Quixote, beginning with the merry bridesmaids. As Lead Bridesmaid, Dimity Azoury seizes the opportunity to shine in her brisk solos.

As newlyweds Basilio and Kitri, Chengwu Guo and Ako Kondo own the stage with the aura of absolute superstars and are treated as such by the audience. While the grounded, gentle first pas de deux does not entirely play to their strengths, the pair performs the symmetry to perfection and the heady love of the characters shines through.  The subsequent solos and final pas de deux showcase the beloved pair at their dazzling best, sending the audience to interval on a high. 

Act two opens with the waltz from The Merry Widow, the company achieving a remarkably detailed performance that is as characterful as that seen in the fully staged production. Dressed in Desmond Heeley’s belle époque costumes, the corps de ballet is the height of elegance as they perform Ronald Hynd’s delightful waltz choreography.  

Amber Scott returns as a sleek and glossy Hanna. Christopher Rodgers-Wilson captures the mannered charm of Camille.

An ideal concert piece, George Balanchine’s Tschaikovsky Pas de Deux is a deceptively straight forward classical piece that pushes the dancers ever further as it builds in complexity. Impressing with their nimble skill, Robyn Hendricks and Callum Linnane bring a fresh, beguiling sweetness to the piece.

Just over eleven months ago, the season of The Australian Ballet’s first presentation for 2021 was cut short by lockdown. The closure of Volt meant that the world premiere of Alice Topp’s striking new work Logos only received three performances. The inclusion of the duet “Clay” from Logos is a welcome opportunity for more exposure of this work.  

Boldly beginning and ending in silence, the modern pas de deux achieves raw realism, giving the audience a sense of being spying on the private inner life of a tempestuous young couple. Karen Nanasca and Nathan Brook dance with scalding passion and intensity, their casually unkempt hair and natural clothing adding to the air of realism. 

A splendid conclusion, the pas de deux and finale from Balanchine’s Theme and Variations makes a welcome return to the Australian stage after an absence of some twenty years. 

Brett Chynoweth and Benedicte Bemet gleam with immaculately polished technical prowess. Bemet carries herself with the requisite surety of a grand prima ballerina. Ever expressive, Chynoweth even brings a sense of character to this purely decorative classical piece.

The return of live ballet means that Melbourne has now seen the resumption of all genres of performing arts, a feat that other world cities could only imagine at this point. Given the logistics involved, the pristine quality of Summertime at the Ballet is something of a miracle. Attendance is very highly recommended. 

Summertime at the Ballet plays at MC Arena, Melbourne Park until 28 February 2021. For tickets, click here.

Summertime at the Ballet will be streamed live on Ballet TV on 28 February 2021. 

In the absence of cast sheets, read the casting for Summertime at the Ballet. 

Read the COVID-safe information for the season of Summertime at the Ballet. 

Photos: Jeff Busby

Roaring back to the stage, The Australian Ballet triumphs with the twice-delayed Anna Karenina, a major new work that is steeped in tradition and yet boldly staged at the vanguard of contemporary dance theatre. 

There is not so much as a single wasted step in Yuri Possokhov’s ingenious and painstakingly conceived choreography, the divertissement-free full length work unfolding in fascinating style. The closest comparison would be the work of John Neumeier, with both choreographers enriching the depth of their work with a psychological focus on the emotional heart of their characters and stories.

A co-production with Joffrey Ballet, Anna Karenina features an evocative score by Ilya Demutsky. In a decidedly cinematic beginning, atmospheric clouds plumes of grey smoke billow ominously, as Orchestra Victoria gently begins the soundtrack-likes strains of Demutsky’s plaintive score. 

The smoke billows, of course, from steam trains, one of which shortly takes the life of an elderly man, planting a tragic kernel of an idea in the mind of our tortured Tolstoy heroine, Anna Karenina.

Contributing both sets and costumes, designer Tom Pye’s deftly balances striking spectacle with elegant understatement. A hallmark of the new work is the clear collaboration of creative artists. The visual splendour of Pye’s work is inseparable from David Finn’s lighting design and Finn Ross’ projection design, with each of these artists sympathetically and elegantly complementing Demutsky’s music and Possokhov’s compelling storytelling. Best of all, the resulting design is on a grand scale, filling the mighty State Theatre stage with impactful flair.

Far removed from a fairytale Russian ballet, the initial cinematic style dissolves to more closely resemble an opera. One could almost imagine the same sets and costumes used for an opera season of Tchaikovsky’s The Queen of Spades. 

Pye’s elegant costumes are a picture of understated elegance, with a clear highlight being the striking black ball wear. In which the women had vivid jewel-toned skirts seen in tantalising glimpses of colour as part of the choreography.

Adding an additional form of artistry beyond dancers and musicians, Demutsky and librettist Valerly Pecheykin give voice to Anna’s inner longings with the presence of a mezzo-soprano singer, a device all the more effective for its sparing use. On opening night, Jacqueline Dark (who alternates with Dimity Shepherd) maintains a subtle side-stage presence, delivering finely detailed vocals that are sumptuous yet never distracting. In act two, Dark ventures onto the stage, her atmospheric vocals intensifying in deftly calibrated gradations. 

Maestro Nicolette Fraillon brings out abundant colour in the unfamiliar score, leading Orchestra Victoria in a performance that would, in its own right, not be out of place on the concert hall stage. 

Much as Leo Tolstoy’s story is widely known, and much as Possokhov’s narrative is crisply delineated, a close read of the synopsis before viewing Anna Karenina enhances enjoyment of the ballet. Appreciating the key relationships of the characters leaves one free to marvel at Possokhov’s physicalisation of emotions and emotional connections, such as the impassioned competition of Anna’s husband, Karenin, and lover, Vronsky, as seen in Anna’s morphine-clouded sickbed. 

As well as crafting any number of distinctive pas de deux pas de trois and solos, Possokhov shows unique creativity with the corps, going beyond their actual dance steps to create wondrous visual compositions based upon the positioning of each dancer in relation to the others. In lesser hands, scenes in salons and ballrooms, or parliaments and racecourses, might have been quite standard, but are visually stunning thanks to Possokhov’s sharp eye for the big picture. 

Possokhov’s vision for the corps comes to vibrant life with the excellent work of the large ensemble of dancers, More than being well drilled, the dancers appear to be at one with the setting and story, enriching the immersive nature of the ballet. The corps even have two all-too-rare opportunities to use their voices, which they confidently do to great effect.

The opening night cast featured four established Principal Artists, as well as another dancer who was about to join their ranks. 

As Anna, Robyn Hendricks brings a mature, soulful presence to the ill-fated young woman who is drawn inexorably by longings. A highlight is Anna’s drug-addled solo, in which Hendricks projects heartbreaking vulnerability at Anna’s futile desperation. 

Benedicte Bemet provides an ideal counterpoint, portraying Kitty’s fresh, optimistic outlook with characteristic flair. Bemet is perfectly partnered by Brett Chynoweth, each of the pair reliably giving characterful performances that are technically brilliant and a joy to watch. Kitty and Konstantin provide some necessarily joyful hope at the ballet’s end, although the featherlight pastoral ending seems to somewhat dilute the drama’s tragic climax.

Playing against his Prince Charming type, Adam Bull embraces the dark intensity of Alexei Karenin, seizing the opportunity to play a serious dramatic role. A dancer of significant emotional intelligence, Bull brings out the full facets of Karenin, from jealous lover to bitter husband to loving father to embattled politician.

The arrival of Vronsky turns both Anna and Kitty’s heads, a plot point that is easily realised by the hulking presence of Callum Linnane. Linnane exudes sexuality and passion, sharing abundant chemistry with each of his partners. Linnane and Hendricks create sparks when Anna and Vronsky eventually make love, and Linnane has a dynamite pas de deux as Vronsky wrestles Karenin in Anna’s fevered dream. 

Neatly contrasting the heavier characters, Nicola Curry revels in portraying popular society maven, Betsy Tverskay. 

A production to be cherished, Anna Karenina may not be the best choice for younger audience members but adult lovers of dance will thrill to the sheer quality and creativity on show. 

Anna Karenina plays at State Theatre, Arts Centre Melbourne until 9 March 2022. For tickets, click here.

In the absence of paper cast sheets, read the Melbourne cast sheets for Anna Karenina online.

The Australian Ballet souvenir program has had a very stylish makeover, now seen in a more compact booklet with over 100 pages of lovingly curated content.

Cast your vote in the 2022 Telstra Ballet Dancer Awards. 

Footnote:

As a curtain warmer, artistic director David Hallberg greeted the opening night audience on stage, declaring the company “third time lucky” in presenting the long-awaited Anna Karenina. Hallberg’s introduction of himself and of the work drew hearty applause, and it is pleasing to note, as with his introduction at last December’s Celebration Gala, that he acknowledged the musicians as warmly and sincerely as the dancers.

Following the curtain calls, Hallberg returned to the stage, this time to perform the very happy duty of announcing the promotion to Principal Artist of Linnane, a move greeted by rousing cheers of approval and a full standing ovation.

Man in Chair’s many reviews of Linnane stretch back to his 2014 performance in The Australian Ballet School’s 50th Anniversary Gala.

Photos: #1 – #7 Jeff Busby; #8,9 Lucas Dawson

In their sole triple bill for 2022, The Australian Ballet confidently blends modern dance with classical undertones in fresh, invigorating program Instruments of Dance. 

In his (now traditional) opening night pre-curtain address, artistic director David Hallberg draws attention to the fact that all six of the composers and choreographers whose art is on show in Instruments of Dance are living. This is a reflection of dance as a living art form, one that the company keeps “bubbling and percolating” along. 

In the Australian premiere of Wayne McGregor’s 2016 work Obsidian Tear, the curtain opens on a lone pair of men in what appears to be a barren landscape. An extended pas de deux sees Callum Linnane, in black, drawn to Adam Elmes, in red. The pair conveys detailed physical expression as they dance in fluid abstract style to the compelling solo violin accompaniment of Orchestra Victoria’s concertmaster Sulki Yu.

The dramatic instrumental accompaniment expands in scope as the music moves from “Lachen Verlernt” to second Esa-Pekka Salonen piece, “Nyx.” The opening pair is eventually joined by the full complement of nine male dancers, who inventively move in and out of synchronisation in varying combinations as the music increases in intensity. Fashion Director Kate Shillingford dresses eight of the men in strikingly individual black outfits, denoting Elmes’ figure in red as something of an outsider to the tribe. 

There is minimal pairing of men; rather, the men work chiefly as a group, influencing, observing and reacting with each other. In his program notes, McGregor refers to Salonen’s music premiering at a time when ISIS was throwing gay men off buildings, a concept that is referenced as Obsidian Tear reaches its climax.

Amongst the community of men, principal artist Adam Bull readily carries an elder statesman vibe, which is as much related to his physical stature as to his vast dance experience. Corps de ballet member Elmes makes a highly memorable impact, and Linnane, still only in his first year as principal artist, thrills again with his trademark blend of passionate intensity and compelling physical expression. 

The world premiere of new Alice Topp work Annealing also begins with a lone pair, in this case a fluidly gracious pas de deux from treasured principal artists Amy Harris and Bull. Reflecting the metallic context of the term “annealing,” Harris shimmers in dark flowing silver as Topp has the pair create sparks with constant physical contact. 

In the second movement, Elmes and fellow corps member Samara Merrick sport golden suits, again dancing in a style that suggest a sense of frictional force against one another. The stage is soon filled by a mighty ensemble of gold-clad dancers, swiftly arranging themselves in neat rows, like the crystals in annealed metal. 

Fully strengthened, the full company appears for only a relatively brief time, the  ensemble yielding the stage to principal artists Dimity Azoury and Linnane, This talented pair of characterful dancers all but disappear into Topp’s final sweetly subtle and supportive pas de deux.

Throughout Annealing, the purpose-written score of Bryony Marks is a delight to hear, bubbling and pulsing along with just the gentlest sense of urgency. 

The stage flanked on three sides by giant floating perspex rectangles, Topp once again demonstrates that her vision as a choreographer extends well beyond the dance itself. Prolific stage designer Jon Buswell contributes the grand construct, achieving additional striking effect by lighting the blocks from within.

The evening concludes on a merry high with Justin Peck’s 2014 hit Everywhere We Go. Not just making its Australian debut, the season is distinguished in that The Australian Ballet is the first company outside of New York City Ballet to perform the terrific work.

A distinctly vibrant piece that keeps a company of 25 dancers very well occupied, the combination of up tempo music and sunny staging indirectly brings to mind hit 2016 movie musical La La Land. Composer Sufjan Stevens delivers a truly delightful score that could readily stand alone in a concert performance, especially as played with such deft precision by Orchestra Victoria under the nimble baton of conductor Daniel Capps. Equally adroit is the playing of Duncan Salton, giving a sumptuous featured performance on grand piano. 

Costume designer Jamie Taylor outfits the men in two-tone grey and the women in breezy marine stripes, supporting the tight precision required with this set of very uniform costumes. Additional visual appeal comes from Karl Jensen’s set design, in which a full height pair of backcloths punctuate the range of nine segments with fascinating backlit geometric patterns. 

Peck maintains a breathless sense of movement and purpose, keeping the dancers in almost constant flight until they all come to rest at ground level as the ballet reaches its satisfying conclusion. Working with supreme confidence in dance vocabulary, Peck effortlessly underpins the modern styling with classical technique, with a particular focus on the featherlight elegant of pointe work. 

Standing out in the tight ensemble piece are superlative principal artist duo Benedicte Bemet and Brett Chynoweth, proving that they are equally at ease with cheerfully sunny dance as with soulful anguish. Chynoweth goes on to seize the opportunity to impress with some superlative solo work. 

Lovers of dance will find much to enjoy in this cannily curated program. As a barometer of the depth of strength in all ranks, Instruments of Dance allows the dancers to shine in their own right, giving a wonderful indication of the sterling success of the current direction of the company. 

Instruments of Dance plays at State Theatre, Arts Centre Melbourne until 1 October 2022. For tickets, click here.

Instruments of Dance plays at Joan Sutherland Theatre, Sydney Opera House 10 – 26 November 2022. For tickets, click here.

The Instruments of Dance Melbourne cast sheet can be read online.

Photos: Jeff Busby

Thrillingly balancing dangerous drama and rapturous romance, John Cranko’s Romeo and Juliet enthrals once again in this grandly staged, meticulously recreated hallmark production from The Australian Ballet. 

Introducing the premiere of the revived production, artistic director David Hallberg spoke of the value of the heritage of the Australian Ballet as they approach their 60th anniversary. With this 1974 production not having been staged for 19 years, the full company would be making their debut in John Cranko’s Romeo & Juliet that evening, the lone exception being Steven Heathcote. Hallberg drew particular attention to Callum Linnane and Sharni Spencer, artists whom he had promoted to the top rank of principal artist at the start of the year and who would be making their debuts in the title roles on this night.

Such focus upon on Linnane and Spencer proved very well deserved, with the pair soaring through the challenging roles with charisma and grace to spare.

Linnane takes Romeo from impetuous lad, flirting with the fair Rosaline, to ardent lover, transformed by the immediacy of his all-consuming passion for Juliet. Linnane portrays Romeo as the clear alpha male of his troop, such that there can be no doubt of his impulse for revenge upon Tybalt and his calamitous response to finding Juliet in the crypt.

Spencer swiftly casts aside Juliet’s childish ways to embrace her burgeoning womanhood. Delightful as a young person in love, Spencer really comes into her own in Juliet’s desperate grief, heartbreakingly showing the dear girl’s reckless willingness to take drastic action to escape an arranged marriage to Paris and then later to take her own life in the absence of Romeo.

Blessed with three heavenly pas de deux, Linnane and Spencer capture soaring passion and fully realised love. Spencer is elevated like a weightless doll in lifts that range from sweetly playful to maturely grounded. The pair are beautifully matched in their shared talent for communication through dance, gifts that are all the more magnified when combined.

As the first swoon-worthy bars of Prokofiev’s richly textured score ring out across the State Theatre, the audience is immediately transported in time, place and feeling. Guest conductor Jonathan Lo helms Orchestra Victoria in a finely detailed musical performance that would readily stand alone as a concert hall attraction. Particular dramatic oomph bellows out from the tubas, and it is, of course, a delight to hear the mandolins. 

Originally created at Stuttgart Ballet in 1962, John Cranko’s production of Romeo and Juliet was first staged at The Australian Ballet in 1974 by then artistic director Anne Woolliams, who had been Cranko’s ballet mistress. As well as drawing on the experience of principal coach Fiona Tonkin and ballet master Heathcote, the dancers have benefited from the input of guest répétiteurs Yseult Lendvai and Mark Kay. The lavish set and costume designs of Jürgen Rose have been lovingly restored for this very welcome return season.

There is a sense of brisk urgency to the storytelling with the numerous scenes unfolding in swift succession. Aided by our shared knowledge of the timeless Shakespeare source material, distinct characters are quickly and impactfully established. With the skill of the company at large on display, the entire village and court take on a strong sense of inner life. This rich sense of community gives palpable weight to the tragic deaths of young bucks Mercutio and Tybalt.

Rose’s set designs are striking not just in their grandeur but also in their ingenuity. A particularly impressive transition follows Romeo and Juliet’s wedding, with the action returning to the ebullience of the marketplace with the swiftness of a movie. Lighting designer Jon Buswell deftly avoids over-lighting the period settings, achieving particular success with night scenes for Juliet’s balcony and Juliet’s funeral procession. 

Rose’s intricate, wonderfully theatrical costumes clearly establish house and rank, galvanising the storytelling character to great effect.

Carrying weapons of death and yet prancing about like the carefree adolescents they are, Romeo and friends impart a lively beginning, the trio also dancing an entertaining series of moves when approaching the ball. 

Youthful exuberance likewise characterises the majority of act two, with the merry townsfolk engaged in the liveliest of communal dances. Merriment reaches a new high with the arrival of a vibrant troupe of acrobatic jesters, expertly led by Brodie James in a wonderfully characterful performance.  

In splendid form, Brett Chynoweth steals many a scene as the sprightly Mercutio. A highlight is Mercutio’s solo to distract the ball guests from following Romeo. And his death scene is to die for. 

Cameron Holmes makes for a nimble, puckish Benvolio. Christopher Rodgers-Wilson carries a dignified presence as the princely Paris, whose unfortunate demise is all the more tragic for Rodgers-Wilson’s elegant performance. 

Playing against type seen in his vast lineage of Princes, Adam Bull brings a brutish presence to Tybalt, portraying a thuggish noble who clearly believes that might is right, until he encounters someone mightier in the grief-stricken Romeo. 

Acting to the brims of her oversized headwear, Amy Harris cuts a fine figure as Lady Capulet, the mania of her devastated reaction to the death of Tybalt bringing act two to a powerful conclusion. 

Heathcote carries the noble mantle of Lord Capulet with trademark flair. Stephen Baynes contrasts the feeble yet powerful Duke of Mantua with the tenderly compassionate Friar Laurence. Terese Power brings an endearing warmth to Juliet’s Nurse, making the Nurse’s discovery of Juliet’s seemingly lifeless body all the more heart rending.

Romeo and Juliet brings The Australian Ballet’s year to a highly impressive conclusion. Balletomanes of Melbourne and Sydney are in for a decadent feast. 

Romeo and Juliet plays at State Theatre, Arts Centre Melbourne until 18 October 2022. For tickets, click here. 

Romeo and Juliet will be live-streamed on Tuesday 18 October. For tickets, click here.

Romeo and Juliet plays at Joan Sutherland Theatre, Sydney Opera House 1-21 December 2022. For tickets, click here. 

The Romeo and Juliet Melbourne cast sheet can be read online.

Photos: #1-5, #7, #9-10 Jeff Busby; #6, #8 Rainee Lantry

From stage to screen and back to stage, Don Quixote lives anew, lovingly and lavishly refreshed in this highly theatrical, wonderfully entertaining production. As The Australian Ballet celebrates their 60th anniversary year, the additional landmark of 50 years since the iconic filmed version of Don Quixote makes ideal timing for this eagerly anticipated new staging. 

Dually helmed by Rudolf Nureyev and Robert Helpmann, and recorded at Essendon airport during a heatwave, the movie version of Don Quixote went on to be hailed as a classic of dance on film. 

Nureyev’s Don Quixote had already entered the repertoire of The Australian Ballet, with Barry Kay recreating his movie costumes for the stage, and Anne Fraser designing sets in 1993. Those settings were observed to be well past their prime in the 2013 season of Don Quixote, making this new production both necessary and very welcome. Designed by Richard Roberts, and produced on a very impressive scale, the new settings bring Kay’s movie sets back to vivid life. 

Kay’s costumes remain a key attraction in their own right, a highlight being the pristine tutus in Dulcinea’s Garden, which stand in crisp contrast to the characterful ruffled skirts worn throughout the majority of the scenes.

Nureyev’s choreography is distinguished by a healthy sense of spirited fun. Featured roles for a multitude of dancers bring not just a continuous whirl of entertainment but also clearly demonstrate the current strength of the company. A total of five Principal Artists were seen on opening night, each imbuing their roles, small or large, with star quality and brightly polished technical prowess. Generous helpings of corps work are tightly accurate and warmly atmospheric. 

A brief prologue sees Don Quixote spark the dreams that begin his determined quest. The Don’s visions are shown as projected snippets from the movie before his reveries are interrupted by Sancho Panza, who is promptly enlisted as squire. 

In a second homage to the film, the credits for the ballet are shown, movie-style, on a full-size silver screen, before dissolving to the live stage setting. 

The Australian Ballet’s new music director Jonathan Lo makes the strongest possible impression, leading Orchestra Victoria in a sumptuous performance of Minkus’ melodic score, ebulliently orchestrated by John Lanchbery.

Principal Artist Adam Bull adds another character role to his credits, starring here in the title role. Bull capably conveys the knight errant’s noble countenance, bringing gentle dignity to the well-intentioned, if ever so slightly batty, dreamer. Bull goes on to prove a hardy live-action stuntman, swinging precariously from the set as Don Quixote bravely battles a formidable windmill. 

Returning to the Melbourne stage after family leave, Ako Kondo is in absolutely stellar form as the vivacious Kitri, dancing the role with virtuosic skill while exuding magnetic stage presence. 

In her secondary role of “dream” Dulcinea, Kondo instantly transforms from the hearty Kitri into a fragile beauty, memorably displaying the full spectrum of talent required by the dual roles. 

Chengwu Guo completes the well-proven dream team, the two Principal Artists ramping up the spectacle of Nureyev’s playful choreography while fully capturing the sense of dancing for the sheer love of dance.  

Blessed with a showy pas de deux in each of the three acts, Guo and Kondo particularly thrill in act one with the single-handed overhead lifts where time appears to stand still. Superb individually and even more sensational together, the pair’s performance drew roars of appreciation from the opening night audience, and was a significant factor behind the all too rare standing ovation at the ballet’s conclusion.  

Further Principal Artist highlights see Amy Harris as the Street Dancer, swiftly conjuring a vivid characterisation. Sharni Spencer is luxury casting indeed as the Dryad Queen, dancing the cameo role with pristine elegance. The opportunity to see Spencer and Kondo together provides briefly snatched glimpses of dance heaven.

Character roles bring further enjoyment by adding merry humour to proceedings. Timothy Coleman is a good sport as Sancho Panza, gamely allowing himself to be tossed overhead by the men. Brett Simon provides the obstacle to Kitri and Basilio’s happiness, with his Lorenzo determined to see a “better” match for his precious daughter. All feathers and frills, Paul Knobloch comically brings out the peacock vanity of rich suitor Gamache with flair. 

Nureyev’s choreography includes any number of divertissements while still maintaining the flow of the storytelling, relatively simple as the romantic tale may be. 

In further featured roles, Jill Ogai and Riley Lapham work neatly in tandem, dancing in vibrant style as the Girlfriends. Nathan Brook brings sullen strength to head toreador Espada. Yuumi Yamada shines as an adorable Cupid. Marcus Morelli brings a characterful energy to the leader of the Romanis. In act three, Dana Stephenson and Jospeh Romancewicz bring fresh energy as the Lead Fandango dancers. As Lead Bridesmaid, Rina Nemoto impressively holds her own with a solo within the sequence of the grand pas de deux. 

All this, plus a show-stopping horse, expertly designed, manufactured, and puppeteered by A Blanck Canvas. 

A celebration of the pure pleasure of dance, Don Quixote is set to delight and enthral legions of ballet lovers.

Don Quixote plays at State Theatre, Arts Centre Melbourne until 25 March 2023. For tickets, click here.

Don Quixote plays at Joan Sutherland Theatre, Sydney Opera House 8 – 25 April 2023. For tickets, click here. 

The performance of Don Quixote on Friday 24 March 2023 will be available as a live stream. For information and tickets, click here. 

The Melbourne Don Quixote cast sheet can be read online.

Photos: Rainee Lantry

Celebrating the landmark 60th anniversary year of The Australian Ballet, dynamic double bill Identity pairs the creative collaboration of The Hum with the magical memories of Paragon.

Enjoying their Melbourne premiere seasons, The Hum and Paragon are unique pieces, both presented as rather lavish productions. As the ultimate luxury, each work has their own newly commissioned score. Helmed by maestro Nicolette Fraillon, Orchestra Victoria performs the new music with the same bright confidence they bring to well established pieces.

Instantly making a personal connection with the audience, The Hum begins with its full company standing casually down stage, making amiable eye contact with the house. The piece returns to that bond at its conclusion, the dancers visibly offering themselves forward, with the stage lights turned around to illuminate the audience. 

The collaborative work features six members of Australian Dance Theatre and 13 from The Australian Ballet, the 19 dancers performing as a proudly unified ensemble.  

Conveying the sense of its title in the constant motion of dancers, sets, projection, and lighting, The Hum maintains a steady strum of movement, continually creating interest with the ever changing stage picture. Narrative-free, the work is a contemplative abstraction of the ongoing connection between music, people and the land.

Director Daniel Riley generously attributes choreography to himself in collaboration with the cast. There is the strong feel of watching a community together on stage. The choreography makes no distinction based on gender, with duos and groups of all compositions. There is an air of excitement and unpredictability in the dance, with many sequences taking flight in a way that makes them seem spontaneous and genuinely organic. In the all too rare moments where all 19 dance as one, the result is thrilling. 

Composer Deborah Cheetham Fraillon delivers an absorbing composition to accompany The Hum. Making confident use of the full complement of Orchestra Victoria, Cheetham Fraillon’s music is a pleasure to hear and is a significant artistic achievement in its own right.

Set and lighting design by Matthew Adey suggests a stylised outback landscape, with the beating sun represented by a circular screen bearing an animated abstract projection, movable set pieces of rocky outcrops, and a vivid rear stripe of neon conjuring the outline of a distant mountain range. 

Costume designer Annette Sax provides relaxed outfits in subtle shades of white, grey, and purple. Adornments by Priscilla Reid-Loynes, Sarah Loynes complete the picture as the work progresses. 

An ingenious idea, beautifully executed, Paragon is a dreamy reflection on 60 glorious years of The Australian Ballet. 

Choreographer Alice Topp perfectly balances joyous nostalgia with truly lovely dance. A dozen returning alumni seamlessly join present company members to form couples and ensembles with all the glamour of a grand gala. The hour-long piece is generously constructed and yet feels like it is over far too soon, such is the pleasure of enjoying this precious mix of dancers past and present. 

History is already in the air when the curtain switches at interval to the beloved State Theatre lyrebird and wattle house curtain. At rise, current company elder statesman Adam Bull begins his final opening night as a Principal Artist by carrying the history of the company on his shoulders in the form of a massive sheath of white fabric upon which is projected the first of many cherished memories. 

The fabric is elegantly gathered and focus falls on eight upstage panels, which roll into various positions and combinations as they carry further projected images throughout the ten distinct sequences created by Topp. Full credit to audio visual editor Arlo Dean Cook for the quality and variety of the projections. The elegantly simple set and lighting design by Jon Buswell allow the focus to stay clearly on the dancers and the shared memories.

Working with costume designer Aleisa Jelbart, Topp gently pays homage to various iconic looks and moments of The Australian Ballet’s history without ever fully recreating any specific items. The well-judged result is a free-flowing fountain of reminders, reminiscences, and remembrances.

Highlights of Paragon include all-female sequence “Glow,” which blessedly returns Julie da Costa to downstage centre. Subsequent all-male item ‘Quake” allows David McAllister to soar back into the spotlight. 

Bull and Fiona Tonkin dance achingly tender pas de deux “Saudade.” Bull returns with fellow principal artist Amber Scott for spectacular pas de deux “Seasons” before ceding the stage to returning legends Stephen Heathcote and Kirsty Martin for “Lake.”

Additional guest alumni gracing Paragon with their treasured experience and talent are Simon Dow, Lucinda Dunn, Paul Knobloch, Sarah Peace, Leanne Stojmenov, and Jessica Thompson.

In a sweetly sentimental final arrangement, the upstage panels turn to create a rehearsal room, the combination of talent on stage sure to bring a sentimental tear to the eye of long term balletomanes.

Paragon has its own original score, by composer Christoper Gordon. Although the length of the overture is a tad indulgent, the instantly accessible music is wonderful to hear, deftly alternating between vibrant playfulness and soulful melancholy.

While The Hum is a noble and entertaining piece in its own right, Paragon is the clear highlight of Identity, graced with a once-in-a-lifetime all-star cast and carrying such emotion as it honours and commemorates the company we all love. 

Identity plays at State Theatre, Arts Centre Melbourne until 24 June 2023. For tickets, click here. 

The Melbourne cast list for Identity can be read online.

Photos: Daniel Boud