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

The Australian Ballet takes audiences on a trip back in time, returning charming storybook ballet Coppélia to its original 1979 home at the Palais Theatre.

In sharpest possible contrast to the abstract modernity and compelling emotional force of Nijinsky, the gentle, family-friendly delights of Coppélia derive from the light hearted delivery of joyful classical dance. In this most traditional production of a most traditional ballet, the simple scenario is there to provide plenty of opportunities for celebration through dance.

The treasured production was crafted by masterful artists, including The Australian Ballet’s founding artistic director Peggy van Praagh and acclaimed designer Kristian Fredrikson. Reproducing and adding to the established choreography, van Praagh filled the Palais stage with movement, particularly during the ebullient festivities of acts one and three. Director George Ogilvie included broad, clear storytelling that could be appreciated from the far reaches of the mighty Palais auditorium.

Contributing both costume and scenic design enabled Fredrikson to match thematic colours to create an overall stage picture of great visual appeal. Attractive autumnal tones make up the predominant colour palette of the village square, where the Harvest Festival is being celebrated. Decorative details on the merry townsfolk’s costumes gives the impression of a quaint European village. Framed by the decoratively oversized gilt proscenium arch of the Palais, the production looks handsome and well proportioned.

Usually seen but not heard, the musicians of Orchestra Victoria are on show in the wide, open pit of the Palais, a design that allows the music to fill the cavernous space without impediment. Maestro Nicolette Fraillon brings out the infectious pomp of Delibes’ delightfully melodious score, with gentle brass and percussive colour being highlights of the performance.

The romance of the story was given a boost on opening night with the lead roles danced by newly engaged couple Ako Kondo and Chengwu Guo. Each of these Principal Artists was welcomed with entrance applause, and they went on to earn further acclaim as the ballet proceeded, not only dancing beautifully but also bringing out the comic elements of their characters.

Act one’s Harvest Festival see the young people of the village alternate between female, male and massed corps dances. The festive tone is shaded with just an undercurrent of intrigue, which is focused on the house of Dr Coppelius and his exquisite “daughter” on the upstairs balcony. As the act concludes, Swanilda and friends dare to creep inside the house, while Franz prepares to reach the balcony by ladder.

The work of lighting designer Francis Croese comes to the fore in act two, when multiple gleaming eyes shine through the spooky darkness of Dr Coppelius’ laboratory. When Swanilda and friends brings the life-sized toys to life, the effect is really magical. Carrying the majority of the ballet’s slender narrative, this act is expertly paced for maximum impact.

The ballet’s most famous sequence comes in act two when Swanilda takes the place of precious doll Coppélia. In a superb performance, Kondo begins with crisp, stiff doll-like actions with a wonderful gentle bobbing effect after each initial tentative move. Continuing through a series of dances as Coppelius hand her props, Kondo performs with a lovely level of radiant energy, successfully maintaining the tension of the storyline as Swanilda alternates between dazzling the deluded Doctor and taking every opportunity to frantically try to free Franz.

Essentially a character role, Dr Coppelius is a thankless role for Principal Artist Andrew Killian, who acts the full range of the role but is giving precious little dancing to do.

Act three brings a splash of additional colour as the female corps dance in turquoise with moon and star trim, a motif that links the design to the mysticism of original work. A highlight of act three is the exquisitely slow dance by Swanilda and Franz’s friends. Dressed in white, this group is luxuriously cast with a generous number of Senior Artists and Soloists. Another lovely highlight comes with Principal Artist Robyn Hendricks’ angelically ethereal work in the Prayer solo.

Celebrating their wedding, Swanilda and Franz perform a grand pas de deux that is beautifully slow and measured.

Playing a plucky lad is an ideal fit for Guo’s boyish charm. His solo work following the grand pas de deux is characteristically spectacular, giving the fleet footed star the chance to dazzle with the speed of his pirouettes and the seemingly effortless height and feather-light landings of his leaps.

Coppélia is ideal family entertainment, perfectly timed for the current Melbourne school holidays.

Coppélia plays at Palais Theatre, Melbourne until 1 October 2016 and plays Joan Sutherland Theatre, Sydney Opera House 2 – 21 December 2016.

Photos: Jeff Busby

Announcing a range of premieres and classic works, The Australian Ballet has proclaimed 2017 to be A Season of Wonderment.

With further performances of uniquely matched pair Nijinsky and Coppélia still come in 2016, the company today looked ahead to 2017 to announce a season that includes the return of much loved classics The Sleeping Beauty and Nutcracker – The Story of Clara, the Australian premiere of internationally acclaimed ballet Alice’s Adventures in Wonderland©, by Christopher Wheeldon, and another exciting mixed program of modern dance.

Artistic Director of The Australian Ballet David McAllister said, “It’s a season defined by exquisite performance and the adventures of three extraordinary women; we fall down the rabbit hole with Alice in Christopher Wheeldon’s Alice’s Adventures in Wonderland©, we follow the life of a Russian ballerina who arrives in Australia in Graeme Murphy’s Nutcracker – The Story of Clara, and then Princess Aurora leads a cast of fairytale characters as she searches for her Prince in The Sleeping Beauty.

“We also delve into the bold world of pure physical expression, giving our world-class dancers the chance to test the very limits of human movement, with our contemporary season Faster. Its classical counterpoint is Symphony in C, which sits alongside works by some of our most talented young choreographers.”

The first ballet for 2017 is the Brisbane premiere season of The Sleeping Beauty, staged by The Australian Ballet artistic director David McAllister in 2015. The lavish production, boasting opulent designs by Gabriella Tylesova, will return after only two years to Melbourne in June and Sydney in November. Television and cinema screenings of The Sleeping Beauty will hopefully have given a wider audience the desire to see the lavish production live on stage.

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Celebrating its 25th birthday in 2017, Graeme Murphy’s Nutcracker – The Story of Clara is a heartfelt tale of love, loss and lifelong passion. A radical retelling, this ballet was hailed as a masterpiece when Murphy created it for The Australian Ballet in 1992. It tells the story of an elderly Russian emigrant and former prima ballerina, dreaming of the triumphs and challenges of her youth, one hot Christmas Eve in Melbourne. Dreamlike set and costume designs by Kristian Fredrikson reveal Clara’s world in full colour. Tchaikovsky’s much-loved music underscores her journey. Nutcracker – The Story of Clara opens in Sydney in May, then Melbourne in June.

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Following a successful model that has included Vanguard, 20:21 and Vitesse, a mixed program of modern dance will be staged. The 2017 program is entitled Faster. The titular piece by David Bintley is an Olympics-inspired work charting the exultant highs and devastating lows of elite athletes, accompanied by an energetic score from Australian composer Matthew Hindson.

A new work by Wayne McGregor has its Australian premiere with a commissioned score by Steve Reich complementing boundary-pushing choreography. Resident choreographer with The Australian Ballet Tim Harbour reunites with architect Kelvin Ho and lighting designer Benjamin Cisterne, the team behind 2015’s explosive hit Filigree and Shadow, to create a brand new work for this season. Faster plays in Melbourne in March and Sydney in April.

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Performed only in Sydney last year, mixed program Symphony in C will be seen in Melbourne in 2017. The featured piece is, of course, George Balanchine’s Symphony in C, a grand tribute to classical dance. The 30-minute piece will be accompanied by a gala program of dazzling divertissements, including Grand pas classique, pas de deux from Diana and Actéon and the final pas de deux from Christopher Wheeldon’s 2005 ballet After the Rain. The program also includes new works by rising choreographic stars from within the company ranks, Richard House and Alice Topp.

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Award winning internationally acclaimed choreographer Christopher Wheeldon will return to Australia in 2017 for the local premiere of 2011 ballet Alice’s Adventures in Wonderland©. Joey Talbot’s music was the first full-length score for The Royal Ballet in 20 years. The premiere season at Royal Ballet featured Lauren Cuthbertson as Alice and Sergei Polunin as Jack, with renowned character actor Simon Russell Beale as The Duchess.

Alice’s Adventures in Wonderland© will premiere in Melbourne in September, before transferring to Sydney in December.

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Season 2017:

The Sleeping Beauty opens in Brisbane in February, before returning to Melbourne in June and Sydney in November.

Faster plays in Melbourne in March and Sydney in April.

Nutcracker – The Story of Clara opens in Sydney in May, then Melbourne in June.

Symphony in C plays in Melbourne in August.

Alice’s Adventures in Wonderland© opens in Melbourne in September and Sydney in December.

Note: Due to refurbishment of the Joan Sutherland Theatre at Sydney Opera House, the Sydney seasons of The Sleeping Beauty and Alice’s Adventures in Wonderland© will be performed at Capitol Theatre, Sydney.

For full details, visit the website: The Australian Ballet.

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2016 reviews of The Australian Ballet season by Man in Chair:

Ako Kondo and Chengwu Guo in Coppélia: “The romance of the story was given a boost on opening night with the lead roles danced by newly engaged couple Ako Kondo and Chengwu Guo.”

Alexandre Riabko; Kevin Jackson in Nijinsky: “Kevin Jackson’s intelligent, subtly nuanced performance as Vaslav Nijinsky is of an unwavering intensity.

Houston Ballet’s Romeo and Juliet: “Dance is threaded so naturally through the storytelling it is as if this was Shakespeare’s original intention.”

Amber Scott and Adam Bull in Swan Lake: “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.”

A wide range of company members in Vitesse: “Vitesse features carefully curated modern works, high production values and thrilling ensemble work…”

Photos: #1 Justin Ridler; #2 Jeff Busby

The Australian Ballet’s Storytime Ballet series continues with a perfectly judged children’s version of seasonal favourite The Nutcracker.

The new production is staged by Artistic Director David McAllister, whose evident love for The Nutcracker is matched by his innate knowledge of the piece. In editing the ballet to a brisk 50 minutes, McAllister has successfully telescoped all elements of the original. Storytelling is pacy, and Tchaikovsky’s hit tunes come thick and fast in an edited recording of the score prepared by creative associate Nicolette Fraillon.

Based on the original Marius Petipa choreography, McAllister has adapted the work for an economical company of ten dancers. To prevent save parents from continually whispering the story to their children, the character of Drosselmeyer the Magician has been reimagined as a narrator. There is a gentle pantomime-like quality to the text, that sees children covering their eyes and chanting magic words when requested, and eagerly calling responses as the story unfolds. Actor Sean McGrath has a whimsical manner and a twinkle in his eye as Drosselmeyer, a role that could almost be based on McAllister himself.

The touring production is streamlined by the use of projections as scenery. Graphic artist Tracey Lee-Cooper has provided attractive backdrops, with a touch of animation to add to the magic. Lighting designer Jon Buswell expertly illuminates the dancers while allowing the rear projection screen to be seen at full vivid brightness.

The scenic design may be relatively simple, but the costumes are a truly lavish treat. Designer Krystal Giddings begins with the traditional Edwardian children’s costumes, before delivering frisky rats, brave soldiers and the handsome national costumes of dancers in the Land of Sweets. Highlights include the gorgeous colours in the checked matching costumes of Harlequin and Columbine, the Sugar Plum Fairy’s frosted plum tutu, and the seemingly infinite ruffles of the Spanish dancer’s dress. Young audience members were also greatly taken by the licorice allsorts striped tights and silver patty pan dresses of the marzipan Mirlitons.

In a clever Wizard of Oz-like touch, the three boys who become soldiers hold the same gifts (a bugle, a rifle and a sword) that they received at the Stahlbaum’s Christmas party. The King Rat has a Dickensian quality to his long shabby coat, draped woolen scarf and worn top hat.

Another nifty invention from McAllister and Giddings is the use of a colourful Chinese dragon for the beginning of the Chinese Dancers’ divertissement.

The benefit to the young cast members is that they are all clearly seen in the spotlight, rather than dancing en masse behind principal artists. Each of the performers dances with flair and polish, and brings lively characterful elements to their role.

Chantelle van der Hoek makes an utterly charming Clara. She is well supported by corps de ballet member Edward Smith (The Nutcracker/Prince), who has the clear look and talent of a future soloist.

Fellow corps de ballet members Kelsey Stokes and Lucien Xu merrily dance Columbine and Harlequin, with Xu also a strong partner in the Spanish Dance.

Harley Campbell, Saranja Crowe, Jasmin Dwyer, Elise Foster, Jack Gibbs, Walt Isaacson and Timothy Szczepkowski-Collins complete the well-matched cast.

Miss Eight, Man in Chair’s partner for the evening, sat spellbound during The Nutcracker, happily chanting and responding, and following the story with ease. Her favourite costume was the Spanish Dancer’s ruffled dress, and her favourite moment was when Clara knocked out the King Rat with her ballet shoe.

Storytime Ballet: The Nutcracker is ideal holiday entertainment for children lucky enough to secure a ticket.

Storytime Ballet: The Nutcracker plays multiple sessions at Playhouse, Arts Centre Melbourne until 18 December 2016, before touring to Sydney, Chatswood, Wollongong, Penrith and Canberra.

Photos: Jeff Busby

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

Graeme Murphy’s Nutcracker does far more than tell The Story of Clara, celebrating the backstory of vision, passion and talent that formed the bedrock for our modern, 55-years-young company The Australian Ballet.

First staged some twenty-five years ago, Nutcracker – The Story of Clara now has a sentimental history of its own, over and above the vibrant history of ballet that plays out in the work’s rich narrative. Not seen on stage in Melbourne for eight years, the ballet has an extraordinary freshness and vitality, not to mention a dazzling, intricate beauty.

Murphy’s ingenious vision takes the bones of the traditional narrative of The Nutcracker and repurposes the music and characters for a journey through time. Instead of pampered children festively frolicking on Christmas Eve, bone-tired ballerina Clara struggles home with her shopping on a hot Christmas Eve before welcoming her dear Russian friends to her modest St Kilda apartment.

The multi-generational ballet features a healthy showing of mature-age dancers, who imbue the early scenes with tender warmth. Russian-born dancer Ai-Gul Gaisina, a member of The Australian Ballet since 1973, imbues Clara the Elder with a sense of guarded delight as the elderly ballerina revisits her glory days.

Having Clara played by three dancers, Murphy cleverly flags his concept for embedded memories by focusing much of the early work on matryoshka dolls. The memories and experiences of the younger are progressively stored and preserved inside the elder.

Before long, the party breaks up and Clara’s memories flood the room with giant Bolshevik rats and dancing snowflakes. Rising from her bed, Clara, the Elder has yielded the stage to Clara, the Ballerina, and the doctor has flipped his costume to reveal Clara’s Beloved Officer. Mere seconds after rising from the bed, Leanne Stojmenov dances a grand pas de deux with gallant partner Kevin Jackson. One of the clear highlights of the night, this glorious sequence is a slow burn, heightening the sense of romance by keeping the pair in constant close contact with each other.

The exquisite work of the corps de ballet as the undulating snowflakes is mesmerising in its precision and creativity.

Nicolette Fraillon leads Orchestra Victoria in an exacting performance of the very well known score, illuminating rich details with subtle shifts in tempo and emphasis. Harp work (sadly not credited in the program) is simply magical.

Act two features a cavalcade of images and scenarios, many beautifully recreated from Russian art. Clara, the Child studies ballet at the Imperial Conservatoire, before she and her classmates magically mature and subsequently graduate. At the height of her carefree happiness, Clara dances a joyous pas de deux with her Officer before joining him at a grand ball. This scene dissolves to a performance of The Nutcracker, in which Clara, as Clara, dances with the noble Nutcracker Prince of Jarryd Madden. This precision of this majestic, carefully calibrated pas de deux is distinguished by the radiant joy emanating from Stojmenov and Madden.

With the intrusion of war, and the tragic death of the Officer, Clara embarks on a world tour with the Ballet Russes, giving Murphy the opportunity to set the Egyptian, Spanish and Chinese dances in context.

The company ultimately arrives in Australia, giving a grand performance of The Nutcracker, before the final bittersweet dissolve back to the apartment of Clara.

The meticulous design work of Kristian Fredrikson is crucial to the success of the piece. Fluid dissolves between scenes maintain a breathless, dreamlike flow to the work. Costumes are both a tribute to the period and a gorgeous attraction in their own right. Working with original lighting designer John Drummond Montgomery, Fredrikson created a range of atmospheric colour palettes for the work. All of the various settings look truly grand on the vast State Theatre stage.

Lovers of dance who have no more than a vague memory of the power and beauty of Nutcracker – The Story of Clara are urged to revisit this seminal celebration of the rich history and heritage of ballet in Australia.

Nutcracker – The Story of Clara plays at State Theatre, Arts Centre Melbourne until 10 June 2017.

Photos: Jeff Busby

Returning to the Melbourne stage less than two years after its premiere, David McAllister’s production of The Sleeping Beauty can be appreciated not just for its luxuriously lavish staging but also for the wonderful range of supporting roles on offer.

In a boon for lovers of the great Tchaikovsky ballets, The Sleeping Beauty opens in Melbourne only a fortnight after the return of Nutcracker – The Story of Clara. The juxtaposition of these two productions cannot help but highlight the differing approaches of the creative teams at their helm. Whereas Graeme Murphy infused Nutcracker with inspired imagination and heartrending humanity, McAllister has staged a highly traditional The Sleeping Beauty, updated visually with a sumptuous sparkle.

Even after just a short period, during which time a beautifully filmed recording has also been screened, Gabriela Tylesova’s dazzling designs are as impactful and impressive as ever. Tylesova’s first ever tutus are not just coloured exquisitely but are cleverly created to sit softly at the waist and then fluffily expand as they fill with air during movement.

The generous budget for the production, the bulk of which was raised through philanthropy, allows Tylesova to reach a quality of staging that far exceeds the crinkled painted backdrops of old. The carefully considered combination of costumes and scenery creates a delectable blend of colour in each scene. Tylesova highlights the 100-year sleep of Aurora with a striking jump from the grand Baroque of court to the smart Edwardian wear of the Prince’s hunting party.

If there was an extra oomph to the applause for conductor Nicolette Fraillon on opening night, it came from knowledgeable patrons who had been thrilled by this week’s news that Fraillon had been honoured as a Member of the Order (AM). Fraillon led Orchestra Victoria in a reliably pristine performance, which was garnished with lovely highlights from percussion.

McAllister knows his company well, and has provided a wealth of work here for the dancers. Each of the Senior Artists, and a great many Soloists, enhance the various sets of featured roles with their considerable flair and finesse. Chief amongst these are the six Fairies, who not only dance with delightful grace but also have an extra element of camaraderie in their combination. Dimity Azoury (Joy), Natasha Kusen (Grace), Sharni Spencer (Generosity), Brooke Lockett (Musicality) and Dana Stephenson (Temperament) each create distinct characters and dance with a beauty that is sure to inspire the next generation of young dancers in the audience. Leading the charismatic coterie as the Lilac Fairy is Amy Harris, who brings a palpable sense of warmth and wisdom over and above her delicate lightness in the role.

The Fairies’ Cavaliers, the Princes and Prince Désiré’s Friends are all splendidly cast, providing a multitude of opportunities for the dancers to shine. Ever expressive dancer Brett Chynoweth delivers wonderful work as Bluebird, keeping the character in constant fluid birdlike motion and dancing the deceptively difficult role with effortless lightness underpinned by steely strength. Chynoweth is ably partnered by Jade Wood as Princess Florine, the pair stopping the show during Aurora’s Wedding, the cherished third act of the ballet.

Having memorably played Bluebird and Florine at the 2015 premiere, perfectly matched Principal Artists Ako Kondo and Chengwu Guo open the return season of The Sleeping Beauty as Princess Aurora and Prince Désiré. Kondo beams with burgeoning beauty at Aurora’s birthday, later contrasting this with the more downcast vision of Aurora that is shown to the Prince. Indeed, the pair gives arguably the best performance of act two’s apparition scene, achingly conveying the thwarted yearning of the Prince and the dreamlike sorrow of the Princess.

Kondo takes the Rose Adagio very carefully and slowly, performing the fiendishly difficult sequence successfully but diminishing its impact ever so slightly. Nonetheless, Kondo’s dancing across the night is enchantingly lovely.

Imbuing the deliberately slow beginning of their final pas de deux with tender affection, Kondo and Guo go on to raise the stakes as their climactic series of dances increases in pace, and their set of fish dives are nothing short of exquisite. Guo thrills the crowd with a pair of spectacular solos that brilliantly demonstrate his flawless technique and the incredible control he has over his astonishing strength.

Succeeding at its aim for spectacle, the magical effect of The Sleeping Beauty on young viewers must be quite extraordinary.

The Sleeping Beauty plays at State Theatre, Arts Centre Melbourne until 27 June 2017. It plays at Capitol Theatre, Sydney 11- 25 November 2017.

In this 2017 Season of Wonderment, Man in Chair has also reviewed:

Leanne Stojmenov, Kevin Jackson and Jarryd Madden in Nutcracker – The Story of Clara: “The precision of this majestic, carefully calibrated pas de deux is distinguished by the radiant joy emanating from Stojmenov and Madden.”

A wide range of company members in modern mixed bill Faster: “Harbour’s choreography matches this intensity, with a flow of dancers performing with sharply focused power.”

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 return visit to Symphony in C provided the welcome opportunity to enjoy Resident Guest Artist David Hallberg on stage in Melbourne.

***To read Man in Chair’s review of the Melbourne opening night of Symphony in C click HERE.

A Principal Dancer with American Ballet Theatre, Hallberg was also the first American dancer to reach this exalted rank with Bolshoi Ballet. Hallberg’s relationship with The Australian Ballet stems from the year he spent in Australia recuperating from a 2014 ankle injury under the supervision and support of The Australian Ballet’s medical team.

Last year, Sydney audiences saw Hallberg return to the stage in Coppelia. The first dancer to join The Australian Ballet as a resident guest artist, Hallberg graced the stage in Brisbane this year in The Sleeping Beauty, and has made a welcome return to Melbourne for this season of Symphony in C.

The somewhat eclectic mixed program features a juxtaposition of modern and classical dance in five short works, followed by the feature attraction of Symphony in C after interval.

Dancing the First Movement of Symphony in C with The Australian Ballet principal artist Leanne Stojmenov, Hallberg demonstrates the nimble strength and effortless masculine elegance that have made him a star. His soft blonde hair lightly rising as he pirouettes, Hallberg has a charismatic poise that naturally draws the eye to him. The perfect ensemble member, Hallberg performs the intricate technical work of Symphony in C with deft precision, immersing his contribution into the overall stage picture without a trace of any sense of the ostentatious aura of a star.

In the first half of the program, the two pieces by current company members remain fascinating modern works. It is a testament to the extraordinary flexibility of Amanda McGuigan that the fluid beauty of her sensuously slow opening moves can surpass the impact of the stunning opening image of the enormous ruffled train of her red dress in From Silence by Richard House.

Coryphée Callum Linnane proves an excellent match for principal artists Stojmenov and Kevin Jackson in Alice Topp’s Little Atlas, more than holding his own in terms of steely focus, lithe physical strength and imperturbable confidence.

Rina Nemoto is a superb fit for the exoticism of the pas de trois from Imaginary Masque, expertly partnered by Joseph Chapman and Cristiano Martino.

A senior artist who surely draws ever closer to the rank of principal artist, Brett Chynoweth again demonstrates his natural propensity for leading roles in Grand Pas Classique. Chynoweth’s magnetic presence and characterful expression conjur a world of interest over and above the exquisite technical precision of his dancing. Beautifully partnered by soloist Jade Wood, who is an ideal and attractive match for Chynoweth in terms of stature and colouring, the pair brings the sequence to life with wonderful solo work and create images of splendid symmetry together.

The Diana and Actéon pas de deux is still the ultimate crowd pleaser of the evening, Ako Kondo and Chengwu Guo embrace the chance to perform a dazzling series of showstopping moves. The pleasure the audience experiences watching these sweethearts of the stage is enhanced by the palpable enjoyment the pair derives in dancing with each other.

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

Man in Chair attended Symphony in C 6.30pm Friday 1 September 2017 as a guest of a Melbourne arts patron.

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

The Australian Ballet honours and celebrates their extraordinary 50-year association with Australian living legend and national treasure Graeme Murphy in the lovingly curated new mixed program, Murphy.

Before discussing Murphy and Murphy, a quick mention of artistic director David McAllister. Many directorships are measured in full-length productions. While McAllister has produced his fair share of these, a hallmark of his creative vision continues to be these imaginatively conceived and expertly produced mixed programs. Many an international company repeats and recycles their triple bills. Several years ago, McAllister realised that traditional triple bills were something of a weak link in the ballet’s seasons. This led to the creation of marvelous programs such as Peggy! (2010), Chroma (2014), Vitesse (2016) and more. These programs have become a highlight in their own right, and Murphy just may be the jewel in the crown.

The evening begins with a filmed introduction from Murphy himself. As a cavalcade of historic photos are screened, Murphy speaks with inimitable grace about his lifelong joy at finding the special inner spark that sets each dancer apart as an artist.

The first portion of the program is a 90-minute thrill-ride through a whopping five selections from Murphy’s cherished repertoire. Given that Murphy’s full-length productions for The Australian Ballet are regularly revived, works such as Swan Lake and Nutcracker – The Story of Clara are set aside, placing the focus primarily on Murphy’s prolific modern dance creations for Sydney Dance Company.

Immersion in Murphy’s work illuminates and clarifies patterns and predilections in his work. Eschewing the traditional crowd-pleasing balletics of fairy tale pas de deux, Murphy’s partner work is grounded and luxuriously languid. Duets are often playful, with a strong sense that the dance is organically being improvised as we watch. Gender identity is fluid, with the only aspect hindering full equality being the size/strength difference between male and female dancers. Murphy is fascinated by the close juxtaposition of bodies and faces, crafting stage pictures that are as surprising as they are fascinating.

A striking aspect of each staging is Murphy’s interplay with light. The program includes an extremely impressive array of fascinating set pieces, coordinated by Gerard Manion. Each of these installations incorporates stunning use of light, a mind-boggling logistical task that has been handled with supreme flair by lighting designer Damien Cooper. Mention must be made of the incredible work by the State Theatre’s stage management team and crew; each of the first five pieces is presented in rapid succession, with the stage reset in just the time taken for bows.

Senior artist Dimity Azoury had the honour of opening the 2018 season, setting a high standard for the quality to come. In excerpts from The Silver Rose (2005), Dali-esque clocks melt and blur and The Marschallin faces her fears of aging, a feeling Azoury conveys with every inch of her body. Azoury’s work with principal Ty King-Wall has a characteristic sense of spontaneity and playfulness, yet Azoury ensures the Marschallin’s insecurities are never far below the surface.

Clad in filmy orange skirts, striking male trio Brett Chynoweth, Christopher Rodgers-Wilson and Brodie James bring a thrilling start to excerpts from Air and Other Forces (1999).

Featured work Shéhérazade (1979) is a gorgeous marriage of Gustav Klimt-inspired design and Maurice Ravel’s sensuous music. Mezzo-soprano Victoria Lambourn sings with plaintive longing as four dancers magically rise and fall before a tactile, textured backdrop. Lambourn proves herself extremely game at one point by interacting with the dancers in centre stage. Soloist Brodie James returns here, his striking mix of sturdy masculinity and youthful vulnerability making for a compelling mix. Supremely lithe principal Lana Jones is the ideal dancer for the exquisite role originally performed by Sheree da Costa.

An excerpt from Ellipse (2002) raises the energy with a lively surge of cheeky athleticism. At this point it becomes clear that senior artist Brett Chynoweth is a modern incarnation of exactly the dancer that drives Murphy’s great work. Chynoweth deftly balances the charismatic transmission of character with nimble, superbly controlled precision.

The presentation of excerpts from Grand (2005) begins with a brief filmed segment to allow for a change of set. This far into the program it is abundantly clear that Murphy’s work is the proverbial gift that keeps on giving. This generous selection of excerpts is alternately terrific fun and sweetly sensual. Principals Kevin Jackson and Leanne Stojmenov deliver a masterful pas de deux of simmering passion. Chynoweth returns in a delightful duet with Marcus Morelli, the pair thrilling with light jazz Fosse-like dance to music by Fats Waller.

After interval, iconic one-act ballet Firebird (2009) proves as visually arresting as ever. Having a slightly more traditional feel, the piece incorporates corps de ballet work around the four lead roles. Conducted by music director Nicolette Fraillon, Orchestra Victoria is heard at their very best in Firebird, adding significantly to the excitement as the music progressively builds to its climax.

Lana Jones’ characterful movement as the Firebird is stunning in its conception and precision. Kevin Jackson brings a natural, unshowy masculinity to lone hunter Ivan Tsarevich. Fellow principal Amber Scott dances with neatly understated elegance as enslaved princess Tsarevna. Brett Chynoweth cements his status as the evening’s most valued performer with a wickedly exotic turn as reptilian villain Kostchei.

There is a special aura of quality about Murphy. The opening night audience was enthralled throughout, and gave an enthusiastic standing ovation for Graeme Murphy, and creative associate Janet Vernon, in a welcome appearance on stage at the bows. Murphy is a living history of Australian dance, and is a musts-see for all lovers of the art form.

Murphy plays at State Theatre, Arts Centre Melbourne until 26 March 2018. Murphy then plays at Joan Sutherland Theatre, Sydney Opera House 6 – 23 April 2018.

Read the Murphy casting list.

Read the Murphy program notes.

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

Melbourne is treated to an exclusive return season of the celebrated Maina Gielgud production of eternal ballet classic Giselle.

Lovingly restored in 2015, the production retains a sterling polish that belies its thirty-year lifespan. The rare ballet in which the characters are actually dancing as part of the story, Giselle entertains with its contrasting pair of acts. The naturalism of act one’s pleasant woodland setting is upended by the ghostly paranormal activity in the midnight cemetery of act two.

Gielgud’s entirely traditional production simply allows the beauty of the dance to speak for itself. Storytelling moments of mime are perfectly clear, and characters are crisply delineated. Dear Giselle hurtles towards her inexorable fate; under her protection, Giselle’s roguish love Albrecht is spared an insidious death from the ministrations of the wanton Wilis.

A hallmark of Gielgud’s work is the discipline instilled in the corps de ballet. As the ethereal Wilis, the female corps shows meticulous control, elevating the choreography to a stunning series of fully realised formations.

Achieving the uniformity of palette that can generally only be achieved when one artist provides both costume and set design, Peter Farmer fills the stage with rich, warm earthy tones in act one before presenting ghostly figures lit by silvery moonlight in act two. William Akers’ lighting (reproduced by Graham Silver) casts an eerie phosphorescent glow on the Wilis. When first summoned by their Queen, effective use of haze and lighting has the Wilis magically materializing from thin air.

Under the baton of guest conductor Simon Hewett, Orchestra Victoria gives a lively, supple rendition of Adolphe Adam’s jauntily melodious score.

Principal Artist Ako Kondo is ideal casting for the title role, taking Giselle from endearingly playful, doll-like maiden to regretfully unwilling Wili. Kondo makes Giselle’s arc clear in act one, altering her appearance from pure and pristine to a more disheveled look as Giselle tires and her mania increases. Kondo completely alters her performance in act two, changing from the beaming village favourite to a downcast spirit who endures a torturous existence in the afterlife.

Kondo is ably partnered by fellow Principal Artist Ty King-Wall as Albrecht. King-Wall underscores his performance with Albrecht’s regret at deceiving Giselle by hiding his nobility from the guileless girl. Both Kondo and King-Wall temper their performances well so as to be able to increase their energy levels as the ballet progresses. Proving an ever-stronger leading man, King-Wall retains our sympathy for Albrecht as he faces a fate of being danced to death by the Wilis. Dancing with nimbly balanced power and tender expression, King-Wall particularly impresses in Albrecht’s 32 entrechat six jumps, in which he rises ever higher.

Senior Artist Jarryd Madden makes a striking impression in the featured role of forester Hilarion, presenting a magnetic stage presence that clearly portends future leading roles.

Before the main romance takes flight, the Peasant Pas de deux is a highly entertaining divertissement on the scale of a grand pas de deux. Brett Chynoweth reliably brings loads of personality and presence, not to mention pristine dance, to this role, more than ably partnered by Dana Stephenson.

Valerie Tereshchenko gives a highly memorable performance as Myrtha, Queen of the Wilis. Tereshchenko’s Myrtha is beautifully youthful yet imperiously regal, and her dancing is impeccably precise yet wonderfully characterful.

For lovers of traditional ballet performed at its best, the return of Giselle is a welcome inclusion in the Melbourne 2018 season.

Giselle plays at State Theatre, Arts Centre Melbourne until 8 September 2018.

Read the Giselle casting list.

Voting is now open for the 2018 Telstra Ballet Dancer Award.

Photos: Jeff Busby

Brilliantly conceived and expertly realised, The Australian Ballet’s world class new production of Spartacus is an artistic and physical triumph.

The passage of almost twenty years since the frequently-seen 1978 production of Spartacus retired from the repertoire has only increased the mystique and allure of this highly masculine, decidedly non-fairytale ballet. New audiences weaned on Game of Thrones are set to thrill to the Roman gladiatorial setting, with the impact of the violent drama further enhanced by the passionate love story at its heart.

A high level of collaboration has clearly been required to allow the masterful creativity behind the new work to bear such fruit. The core of the ballet’s towering quality is, or course, the work of choreographer Lucas Jervies, with music and all aspects of design combining cohesively for a seamlessly integrated production.

Jervies’ choreography has a unique spirit, with a sense of urgency and spontaneity coursing through the action. Storytelling is expertly concise and immediately involving. Act one, in particular, is a masterwork of succinct and affecting ballet. After the precision of Roman consul Crassus’ flag-wavers comes the grounded bravery of the captured slaves; trained then forced into mortal combat, the male slaves-come-gladiators soon band together in rebellion.

Jervies imbues the love between Spartacus and wife Flavia with a sensuous passion that makes the usual ballet royals look decidedly chaste in comparison. A hallmark of the choreography is the strong sense of character and purpose. With support from dramaturge Imara Savage, societal hierarchy is clearly delineated, and dramatic stakes are kept urgently high.

Contributing both costume and set design, Jérôme Kaplan crafts a bold and striking non-naturalistic visage of sheer, curved towering walls and rows of distinctly Roman arches. In act two, weary noblemen luxuriate in steaming Roman baths, drinking wine from golden amphoras proffered by uniformly beautiful maidens. A giant statue of Crassus’ raised forefinger (symbol for death in the arena) is overturned by the men for a thrilling visual climax to act one.

Denoting the oppressed in pale earthy tones, Kaplan dresses the patricians in swathes of luxuriant modern colours. There is, of course, not a tutu nor a tight bun in sight; in their place are long filmy skirts and flowing wigs, which playfully sway with the music. For the women, exotic headwear is at a premium; for the male slaves, striped, tightly fitted shorts are as practical as they are authentic.

Kaplan’s work is inextricably linked with the lighting design of Benjamin Cisterne, both designers supporting Jervies’ vision for a flowing work of alternately grand and intimate scenes. A beautiful example of the intertwined work comes in act one when the enslaved Spartacus dreams of Flavia: the set and lighting subtly alter to indicate the dream, and the choreographic climax, set to the sweeping love theme, is paired with a warm burst of light.

The highpoint of the collaboration comes in the finale. Eschewing the religious iconography of the crucifix, the vividly bloodied men are lifted on to white blocks, awaiting their death in a striking formation that creates a rather unforgettable final image.

The impact of Jervies’ dramatic work is significantly enhanced by the precise and thrilling contributions of fight director Nigel Poulton. Working without weapons for the most part, the fighting is highly physical and incredibly realistic, with percussive thwacks ringing out with all punches. The gladiatorial battles are extraordinary, achieving a level of sophistication that would take days, not to mention copious stuntmen, to achieve.

Befitting the epic scale of production, the orchestra pit is in its larger configuration, with the first two rows of the State Theatre removed. Nicolette Fraillon conducts Orchestra Victoria in an enthralling performance of Khachaturian’s score. Ringing brass is a feature, with all manner of percussion adding crisp, tinkling colour. Fraillon matches the tense stage action with brisk, yet meticulously controlled, tempi, also complementing the festive moments with infectious oom-pah rhythms.

Kevin Jackson’s mighty incarnation of Spartacus is a towering achievement indeed. Bulked up well beyond the regular svelte balletic profile, Jackson carries the additional musical with grace. In an early solo. Jackson captures Spartacus’ frustration and rage. Reliably underpinning the physicality of the role with tender sensitivity, Spartacus’ despair at killing his friend Hermes in the arena is palpable, his love for wife Flavia is all consuming and his mistaken act of mercy towards Emperor Crassus is entirely convincing. In a career of highlights, not the least of which to date was Nijinsky, this is an unforgettable and unmissable performance from Jackson.

Robyn Hendricks brings a sense of stripped-back glamour to Flavia, portraying a once powerful woman who has unfairly fallen from grace. From her hesitant dancing with the other slave girls to her vengeful waterboarding of Crassus after the uprising, Hendricks keeps Flavia grounded in reality. In the absence of the usual suite of balletic flourishes, Hendricks creates a strong yet vulnerable heroine to highly memorable effect.

Contrasting his loving family side with his entitled brutality, Ty King-Wall takes Crassus beyond the status of a one-dimensional villain. King-Wall dances with deft grace, showing Crassus as a virile man, comfortable in the public eye.

As slinky concubine Tertulla, partner to Crassus, Amy Harris* contributes characterful presence, with her character’s dance potency being unleashed in act two. Harris is particularly successful with Jervies’ spontaneous style, dancing a compelling solo before being joined by King-Wall as the regal pair parades their lust for all to see.

In another magnetic performance, Brett Chynoweth shines in the role of Caius, a hedonistic member of Crassus’ court. While much of his work is in leading the noble men, Chynoweth is fittingly partnered in duets by Natasha Kusen as Eustacia.

Despite his character meeting a relatively early death, Jake Mangakahia makes a very strong impression as Hermes, pairing with Jackson for a battle as tense as it is convincing.

Marcus Morelli successfully captures the bulldog tenacity of Crixus, the slave who will not give up on fighting for freedom.

Spartacus may not be the ballet for grandparents to take young children, but as adult entertainment it is hard to beat. Attendance is very highly recommended for lovers of all facets of the arts.

Spartacus plays at State Theatre, Arts Centre Melbourne until 29 September 2018.

Spartacus plays at Joan Sutherland Theatre, Sydney Opera House 9 November – 24 November 2018.

Read the Melbourne Spartacus casting list.

*Hearty congratulation to Amy Harris, whose very well deserved ascendance to Principal Artist was announced after the curtain calls on opening night.

Photos: Jeff Busby

The Australian Ballet continues their cleverly conceived Storytime Ballet series with Coppélia, an ideal first ballet for young audiences.

The running time may be condensed to a swift 50 minutes, but the program respects the junior attendees by offering an authentic ballet experience. The production utilises the original score and design from the full-length production, with just a touch of playful narration to bring focus to key moments of the story. Pantomime-like audience vocal participation supports the stage magic. An eight-page complimentary program contains a double page spread for colouring in. The experience is completed by the provision of an abundance of dress-up costumes in the foyer.

Based on the original choreography, The Australian Ballet’s artistic director David McAllister has overseen the production, also providing additional choreography. Miraculously, the edited version tells the full story of Coppélia, from the sunny village opening to the intrusion into Dr Coppelius’ toy workshop to the happy-ever-after wedding festivities of the finale.

The sinister nature of Dr Coppelius is sweetly offset by giving the character the narration and audience interaction. Sean McGrath performs the role with merry warmth, successfully eliciting delighted vocal responses.

The ballet is performed to a recording Léo Delibes’ charming score, played by Orchestra Victoria. McAllister’s intimate knowledge of the work is seen in his judicious selection of music without the edited score feeling choppy or abrupt.

Working with ten young dancers, McAllister has neatly provided village sweethearts Swanilda and Franz with three friends each. In the smaller space of the Playhouse, these eight dancers look plentiful as they perform the festive massed sequences. Hugh Colman’s quaint village setting is scaled down for the space, with a full lighting design adding to the visual interest.

A blaze of amber and orange, Kristian Fredrikson’s costumes are a key feature of the production. The life-sized dolls of the toy workshop are spooky without being too scary, while the crystalline purity of Coppélia herself is a lovely highlight.

The combination of the smaller auditorium and the absence of an orchestra pit means that the audience is able to feel a close connection to the dancers. The full company projects a sense of joy in their work, which enhances their brightly polished performances.

Miss Seven, niece of Man in Chair, particularly enjoyed the full company dances. With the largely wordless performance being a relatively unique experience, Miss Seven’s imagination was ignited by the enchanting storytelling, which she followed with ease.

An ideal treat for the festive season, Storytime Ballet: Coppélia is sure to cultivate future aficionados of ballet. Be there early for the dress-ups!

Storytime Ballet: Coppélia plays at Playhouse, Arts Centre Melbourne until 16 December 2018 before touring to Sydney, Chatswood, Gosford, Penrith, Canberra and Narre Warren.

Photos: Jeff Busby

Melbourne continues to enjoy a full and rewarding program of high-class opera, wondrous dance and high profile visiting artists.

Opera

The opera community around Australia mourned the death of Richard Gill, conductor, leader, teacher and life long promoter of the love of music. Victoria owed Gill a significant debt for his work in the establishment of vibrant local company Victorian Opera. Gill was the Founding Music Director for Victorian Opera, a position he held from 2006 to 2012.

The international opera community felt the loss of legendary soprano Montserrat Caballé, who passed away at age 85.

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In Melbourne, Opera Australia balanced the presentation of three perennial favourites with three relative rarities. In La Traviata,American soprano Corinne Winters (Violetta) made her Australian debut. American soprano Latonia Moore made her Melbourne debut as Tosca (below). Latvian soprano Maija Kovalevska (Mimì) made her Melbourne debut in La Bohème.

Acclaimed Italian bass Ferruccio Furlanetto travelled to Melbourne for a lavish production of Don Quichotte.

The national company played against type to thrilling effect with a large-scale production of Brian Howard’s Metamorphosis (below)at the Malthouse. Simon Lobelson led the all-Australian cast with a thrilling performance as Gregor Samsa. Metamorphosis also provided the welcome opportunity to see long-term favourite soprano Taryn Fiebig (Mother), who had undergone treatment for cancer earlier in the year.

In July, Opera Australia launched the 2018-2019 regional tour of a new production of Madame Butterfly, directed by John Bell.

Finally, Opera Australia filled the mighty State Theatre with a huge company of singers and musicians for the exclusive Melbourne season of Kaspar Holten’s production of Die Meistersinger von Nürnberg (below).

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Although Melbourne does not see as many Opera Australia performances as Sydney, the shortfall is increasingly well filled by ambitious, well-realised local productions.

Victorian Opera gave two magnificent presentations at Palais Theatre, gathering a very impressive cast for Rossini’s William Tell(below), not seen in Australia for some 140 years. Later, successful Australian artists Angus Wood and Siobhan Stagg returned for the enthralling Pelléas and Mélisande (top photo).

Now something of an annual tradition, Jessica Pratt visited Melbourne for a bel canto opera in concert. Little known Australian singer Caitlin Hulcup was a magnificent partner for Pratt in The Capulets and the Montagues(below). Victorian Opera continued to introduce opera to young audiences, returning their wonderful The Magic Pudding and Hansel and Gretel to the stage.

Continuing their extraordinary level of commitment to commissioning new works, Victorian Opera ended the year on a high with the dazzling Lorelei(below), a production also notable for the extremely high proportion of female creative artists.

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Melbourne Opera returned to the Palais Theatre for the epic Tristan and Isolde (below). Unfortunately, the opening night had to be cancelled due to illness, but the remaining performances proceeded triumphantly. Ever popular Melbourne soprano Lee Abrahmsen starred as Isolde, returning later in the year as the Marschallin in Der Rosenkalier.

Melbourne Opera finished the year with Rossini’s Otello, which was, rather unbelievably, making its Australian premiere. Bel canto soprano Elena Xanthoudakis returned to grace the stage as Desdemona.

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The absence of Lyric Opera of Melbourne in 2018 was disappointing; hopefully, the unique company will be back on stage next year. Boutique scale productions continued at Gertrude Opera, who successfully launched their Yarra Valley Opera Festival, and emerging company BK Opera.

In a fascinating one-off season, acclaimed soprano Emma Matthews returned to the Melbourne stage for new work The Space Between(below). Composers Paul Grabowsky (music) and Steve Vizard (lyrics) consulted with Matthews to craft this highly personal, emotionally charged work. Hearing Matthews in such exquisite form was a painful reminder that she should still be playing lead roles on the operatic stage.

Melbourne Recital Centre’s Great Performers series presented premier American baritone Thomas Hampson in his long overdue Australian debut. The series also hosted powerhouse Australian heldentenor Stuart Skelton, whose concert was unique not just for the inclusion of a bracket of Icelandic music, but also the because the intimacy of the venue provided a rare chance to hear Skelton sing softly.

In her Mad for Love concert, treasured soprano Sumi Jo was joined by charismatic baritone José Carbó.

Around Australia, other notable productions included Brett Dean’s Hamlet (Adelaide Festival), Stuart Skelton and Gun-Brit Barkmin in concert performances of Tristan and Isolde (WASO) and Roméo et Juliette (TSO) (below).

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While the relative intimacy of La Bohème (below)may have seemed an unusual choice for annual outdoor spectacle Handa Opera on Sydney Harbour, the icy streets of 1968 Paris were created to striking effect.

Sydney had their first experience of Melbourne favourite Jessica Pratt when the stunning soprano played Lucia di Lammermoor (below) for Opera Australia at Joan Sutherland Theatre opposite popular American tenor Michael Fabiano. In April, Man in Chair was lucky enough to be in New York to see Pratt make her auspicious Metropolitan Opera debut as Lucia di Lammermoor. Whilst in New York, Man in Chair also caught Placido Domingo, Sonya Yoncheva and Piotr Beczala in Luisa Miller. A select season of Met Operas continues to be shown in Australian cinemas each year.

Earlier in 2018, Man in Chair travelled to London, seeing Rigoletto at Royal Opera. A trip to Zurich brought the chance to see Le Comte Ory, La Fanciulla del West and Madama Butterfly. Going on to Vienna, Man in Chair saw Tosca, La Fille du Regiment and Don Giovanni.

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A number of local performers distinguished themselves in notable performances across the year.

Tenor Carlos E Bárcenas cut a dashing figure in William Tell (as Arnold Melcthal), later giving another dynamic performance as Tebaldo in The Capulets and The Montagues.

Baritone Samuel Dundas (below, left) completed the journey from Young Artist to leading man, making a magnetic Marcello in Handa Opera: La Bohème. Dundas showed maturity as Golaud in Pelléas and Mélisande, and was in excellent form as Mercutio in Roméo et Juliette.

Ever-valuable mezzo-soprano Dimity Shepherd brought warmth and compassion to Emilia in Otello, later returning to her particular forte of modern opera as one of the trio of bravura divas in Lorelei.

Soprano Julie Lea Goodwin (below, left) delighted as saucy Musetta in Handa Opera: La Bohème, later swapping the glitter for grime as ghoulish Greta in Metamorphosis. Goodwin’s starring role as Maria in Handa Opera: West Side Story next year is keenly anticipated.

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Ballet

The Australian Ballet began the year with a sterling tribute to the masterful talent, vision and creativity of Graeme Murphy, whose association with the company stretches across fifty years. A lovingly curated mixed program, Murphy (below)began with highlights from five significant works created for Sydney Dance Company, with iconic one-act ballet Firebird playing in full in the second half.

A brightly polished revival of The Merry Widow saw the return of former Principal Artist Kirsty Martin in the title role. Adam Bull marked ten years as a Principal Artist, starring on opening night as Danilo.

Mixed program Verve accentuated the elegant beauty found in streamlined modern dance. Along with previous works by Stephen Baynes and Tim Harbour, the program featured Aurum (below), a stunning world premiere choreographed by Corphyée Alice Topp.

Melbourne was treated to an exclusive return season of Maina Gielgud’s Giselle(below), which opened with a wonderful performance from Principal Artist Ako Kondo in the title role.

Brilliantly conceived and expertly realised, The Australian Ballet’s world-class new production of Spartacus (below)was an artistic and physical triumph. Lucas Jervies’ choreography had a unique spirit of urgency and spontaneity. Bulked up but ever graceful, Principal Artist Kevin Jackson scored another career triumph in the title role. Replacing an indisposed Jackson, Senior Artist Jarryd Madden reportedly wowed the house at the Sydney opening night of Spartacus.

The Australian Ballet continued to cater for the audiences of the future, touring their adorable Storytime Ballet: Coppélia around Victoria, NSW and ACT.

Movement within The Australian Ballet included the disappointing news that Principal Artists Lana Jones and Leanne Stojmenov were to retire at the end of this year. In careers filled with many highlights, recent standout moments include the title role of Alexei Ratmansky’s Cinderella (2013) being created on Stojmenov, and Aurora in David McAllister’s The Sleeping Beauty (2015) being created on Jones.

Two cherished artists, each as characterful as they are elegant, were promoted to Principal Artist. On opening night of Spartacus in Melbourne, David McAllister surprised Amy Harris on stage with news of her promotion. Later in the season, Brett Chynoweth was also deservedly promoted.

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Visiting companies to Melbourne included The Imperial Ice Stars with their Swan Lake on Ice. Queensland Ballet ably demonstrated the vitality and good humour of their company with a welcome presentation of A Midsummer Night’s Dream, choreographed by The Royal Ballet’s Liam Scarlett.

Visionary choreographer Stephanie Lake created striking new modern work Colossus for the Melbourne Fringe Festival.

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The Australian Ballet Schooloffered four world premiere pieces, choreographed by Stephen Baynes, Margaret Wilson and Simon Dow, as part of their Showcase 2018. The School ended the year with a charming presentation of La Sylphide & Other Works (below).

For Victorian College of the Arts Secondary School’s annual professional season, Tim Harbour adapted Romeo and Juliet to be set amongst warring apple sellers at the Queen Victoria Market.

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In January, Man in Chair was lucky enough to see a performance (or two) of the twentieth anniversary season of Matthew Bourne’s Cinderella at Sadler’s Wells, London. Australia’s Ashley Shaw starred in the title role, opposite vital New Adventures leading man Dominic North.

On two occasions on the January trip, Man in Chair was in the right place at the right time. After the curtain calls for Paris Ballet’s Don Quixote, Dance Director Aurélie Dupont caused great stage excitement by surprising Valentine Colasante with promotion to the highest rank of danseuse etoile.

Having booked to see Steven McRae in Giselle (below) at Royal Ballet, disappointment at the Australian star’s indisposition soon subsided with the news that Melbourne-born Benjamin Ella was replacing McRae, dancing his first lead role at Royal Opera House as Albrecht.

The Royal Ballet entrusted Liam Scarlett with choreographing a new Swan Lake, replacing the Sir Anthony McDowell production, which had served the company well for some thirty years. The highly anticipated premiere season was an absolute triumph. Swan Lake was screened locally by Village Cinemas.

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Best Operas 2018:

Mainstage: Die Meistersinger von Nürnberg (Opera Australia)

Independent:  William Tell (Victorian Opera)

Concert: The Capulets and the Montagues (Victorian Opera)

Heavenly Performances 2018:

Mainstage: Simon Lobelson (Metamorphosis, Opera Australia); Latonia Moore (Tosca, Opera Australia)

Independent: Neal Cooper (Tristan and Isolde, Melbourne Opera); Lee Abrahmsen (Tristan and Isolde, Melbourne Opera)

Concert: Stuart Skelton (Great Performers: Stuart Skelton, Melbourne Recital Centre); Jessica Pratt (The Capulets and the Montagues, Victorian Opera)

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Best Ballet 2018:

Spartacus

Heavenly Performances 2018:

Ballet: Kevin Jackson (Spartacus, The Australian Ballet); Ako Kondo (Giselle, The Australian Ballet)

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Photos: #1, #2, #4, #5, #13, #15, #16, #17, #18 Jeff Busby; #3, #11, #12, #14 Prudence Upton; #6 Charlie Kinross; #7 Pia Johnson; #8 Robin Hall; #9 Mark Gambino; Sergey Konstantinov; #19 Simon Parris

As witty as it is romantic, The Australian Ballet’s characterful production of Cinderellamakes an unplanned yet very welcome return visit to Melbourne, showcasing the glorious partnership of married principal artists Ako Kondo and Chengwu Guo.

Created for The Australian Ballet by master choreographer Alexei Ratmansky in 2013, Cinderella now appears to have reached the level that artistic director David McAllister likes to describe as “in the company’s DNA.” In this third Melbourne season, every dancer on stage contributes mightily to a nuanced, elegant and highly entertaining performance.

While it would have been a pleasure to begin the year by welcoming a new work, the eventual world premiere of Graeme Murphy’s The Happy Prince is now all the more keenly anticipated.

While the fairy tale title of Cinderella suggests a sugar-spun frivolity for children, Ratmansky’s work brims with adult themes of sorrow, malevolence and romance, all wonderfully offset by delightfully sophisticated humour. For an art form that thrives on its female corps de ballet looking absolutely identical, Ratmansky has imbued the full company scenes at the ball with lashings of character work. Ratmansky’s unique dance vocabulary is visually striking, and the corps flourish in their individuality.

Jérôme Kaplan’s sumptuous designs for Cinderella remain impressively grand, built on a large scale yet able to easily flow from scene to scene. Kaplan’s integrated design uses a luscious palette of musk pink and moss green, with all manner of warm composite colours for the costumes. Adding to the humour, Kaplan sets up an elaborate joke for the Stepmother and Stepsisters when they change outfits in a vain attempt to keep up with court fashion.

If there is one disappointment in the costumes, it is the unflattering light grey suits of the Prince’s friends. Cinderella’s metallic gold ball gown remains a lovely highlight, cleverly matched in silhouette to her workaday rags.

Ratmansky utilises Prokofiev’s marvellous score as though it is a film soundtrack, perfectly aligning the music with each change of mood and tone. Maestro Nicolette Fraillon leads Orchestra Victoria in a meticulously detailed rendition of the score, maintaining an inspiring freshness to the sound.

The storyline keeps us waiting for the Prince’s entrance in act two, but when it comes, Guo’s presence brings a natural rise to stage energy. Kondo and Guo make heavenly work of each of the Prince and Cinderella’s pas de deux, beginning possibly at their very best as the pair fall quickly in love and revel in the pleasure of following each other in dance. There is plenty of impressive dance work involved, particularly in the climactic pas de deux, and the pair perfectly complements each other in terms of distinctive presence and deeply intuitive partnership.

Both Kondo and Guo create clear characters; Kondo delights in her portrayal of Cinderella’s modest joy at her good fortune, while Guo conveys the tender aspect of a man who seeks love beyond adulation. The Prince’s act three world journey to find the girl who fits the slipper remains the weak link in an otherwise expertly crafted ballet. Guo’s focus and skill make this sequence more watchable, yet it is somtheing of a relief when the Prince finally ends up at Cinderella’s home.

Dana Stephenson brings a delectable level of verve to Cinderella’s fearlessly driven Stepmother. Jill Ogai is adorably amusing as Dumpy, while Ingrid Gow brings a contrasting undercurrent of insecurity to Skinny. The pair wreaks holy terror akin to the Siamese cats in Lady and the Tramp, torturing Cinderella and then purring at their mother’s side when she returns to the room. Hilariously funny as they are, it is the excellent dancing of Stephenson, Ogai and Gow that is the finishing touch to their memorable performances.

Act one’s visit to the planets and stars is fortified by an exceptional line up dancers, demonstrating the depth of talent currently at hand in the company.

Young audience members may need to be at least ten years of age to really appreciate Cinderella. Adult theatregoers should not hesitate in taking the chance to enjoy this brightly polished production again.

Cinderella plays at State Theatre, Arts Centre Melbourne until 28 March 2019.

Read the Melbourne Cinderella casting list.

The Australian Ballet has dedicated this season of Cinderella to Dame Margaret Scott, who passed away last month.

Photos: #1,#2,#3,#4,#6 Jeff Busby; #5 Daniel Boud

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