Cherished on every ballet world stage, The Nutcracker can be enjoyed at any time of year, especially as presented in The Australian Ballet’s decadently sumptuous production.

With as lavish a staging as can be seen in any genre of performing arts in Australia, John F Macfarlane’s design for this Peter Wright production is as much a work of art as the dance or as Tchaikovsky’s hit-parade score. Best of all, the choreography, by Wright, Lev Ivanov and Vincent Redman, provides a company-wide showcase, with a multitude of featured roles and small ensembles.

Entering its thirteenth year in The Australian Ballet repertoire, and almost 29 years after its Birmingham Royal Ballet world premiere, Peter Wright’s The Nutcracker remains as fresh and glossy as when last seen in Melbourne five years ago. While magician Drosselmeyer’s party tricks may be on the simple side, nothing beats the magical stage transitions, from dark red Edwardian family home to oversized Christmas tree to mystical world of wind and snow. Act two sees a riotous collage of symbols hanging overhead, while outsized abstract floral images slowly scroll into place on the rear wall.

Jon Buswell’s lighting design (based on David Finn’s original design) is a key aspect of the visual wizardry, with moments of dark as important as light. In Clara’s winter wonderland, the beautiful stage picture seems filled to infinity with snowy white.

Peter Wright’s influence is seen throughout the gorgeously detailed costumes, the stage often teeming with distinctive characters, all present with clarion purpose.

Setting some brisk tempi, maestro Nicolette Fraillon draws skilfully nimble playing from Orchestra Victoria. Crisp storytelling serves to highlight the expressive nature of Tchaikovsky’s score, heard in excellent form at this performance.

Yuumi Yamada fills Clara with girlish wonder, nicely conveying with a sincere sense of naïveté. Yamada floats about the stage, looking gracious even when Clara has nowhere else to watch the divertissements but to sit on the floor.

Superstar Ako Kondo brings her pristine technique and absolutely delightful presence to the Sugar Plum Fairy.

Brett Chynoweth is capable of more interesting character work than the Prince allows, but the chance to watch his floating leaps and pillowy landings was a pure joy. Chynoweth works elegantly with Yamada, and then really takes flight in the grand pas de deux with Kondo. The Nutcracker may ostensibly be a children’s ballet, but Kondo and Chynoweth elevate the work to a supreme standard, thrilling the audience along the way.

Featured highlights are numerous, but to name a few: Dana Stephenson is dancing dynamite as the Rose Fairy, maintaining a radiant smile all the way; Jade Wood exudes intriguing, charismatic presence as living dollColumbine; Francois-Eloi Lavignac lights up the stage as the vibrant Magician’s assistant. Of the act two divertissements, the slow sensuality of the Arabian Dance stands out, as hypnotically performed by Natasha Kusen (also charming as Clara’s mother), Callum Linnane, Nathan Brook and Brodie James.

Miss Eight, aka Niece in Chair, commended the child performers from the Christmas party, and was disappointed that they had gone home to bed rather than being present for the curtain call. Drosselmeyer’s transformation of Clara to the Sugar Plum Fairy appeared to involve actual magic, until Miss Eight saw both Yamada and Kondo on stage together in the bows.

The ideal first ballet, Peter Wright’s The Nutcracker is both the perfect family treat and a pleasure for adults. The magic will only multiply as the months approach Christmas.

The Nutcracker plays at State Theatre, Arts Centre Melbourne until 28 September 2019.

The Nutcracker plays at Adelaide Festival Centre 8–12 October 2019.

The Nutcracker plays at Joan Sutherland Theatre, Sydney Opera House 30 November – 18 December 2019.

Read the Melbourne casting for The Nutcracker.

Photos: Jeff Busby

Melbourne continues to enjoy a well-balanced opera program of large and smaller scale productions featuring a wide array of local and international artists.

Opera

World opera news was dominated by the accusation of sexual misconduct levelled against legendary singer Placido Domingo. Domingo stood down from his position as artistic director of Los Angeles Opera, cancelled all US performances and withdrew from the opening of the 2020 Tokyo Olympics. Meanwhile, his career and adulation continue in Europe.

Prominent Italian tenor Marcello Giordani passed away at age 56 in October. Acclaimed American soprano Jessye Norman died at age 74 in September. Legendary opera director Franco Zeffirelli died at age 96 in June. Respected Australian baritone John Wegner passed away at 69 in November.

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Opera Australia blessed Melbourne with a higher number of mainstage productions in 2019, setting their work apart from local companies with the spectacular scale of their productions. Their season premiere of Rigoletto (below)was undermined by an attempt made by aggrieved composer George Dreyfus to address the crowd by megaphone from the centre of the front row. The performance continued successfully, introducing expressive Mongolian baritone Amartuvshin Enkhbat in the title role and giving Melbourne soprano Stacey Alleaume the opportunity for an auspicious role debut as Gilda.

The autumn season continued with the Melbourne premiere of the final work Sir David McVicar’s Mozart/Da Ponte trilogy: Così fan tutte (below). The Australian premiere of Rossini’s Il Viaggio a Reims boasted a first rate Australian cast (along with a couple of overseas guests) in an extraordinarily conceived production that featured, quite appropriately, art come life on stage.

Superstar tenor Jonas Kaufmann returned to Australia, this time performing in an opera in concert in Melbourne as well Sydney. Eva-Marie Westbroek and Ludovic Tézier were excellent co-stars for Kaufmann in Andrea Chénier in Concert. Beloved Welsh bass-baritone Bryn Terfel sang Wagner (and more) in a compelling concert.

Opera Australia presented another independent-style staging presenting spooky chamber opera Ghost Sonata at Malthouse Theatre. The work gave rising tenor Shanul Sharma his second Melbourne role for Opera Australia; future engagements are keenly anticipated. Another small-scale work, pastiche operetta Two Weddings, One Bride (below), was seen at the Playhouse. The brief season brought musical theatre legend Geraldine Turner back to the Melbourne mainstage, with her infinitely talented husband Brian Castles-Onion on grand piano.

The iconic Graham Murphy production of Turandot returned to the Melbourne stage in strong form. The year ended with McVicar’s spectacular production of Faust (below), the first production of this opera at the State Theatre since the old days of the unforgettable Ian Judge production for Victoria State Opera.

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Victorian Opera returned to the Palais to present the inexplicably long overdue Melbourne premiere of Wagner’s Parsifal. For their annual Jessica Pratt concert, the company set aside the usual full opera concert to present Heroic Bel Canto (below). Pratt was capably joined by Italian mezzo-soprano Daniella Barcellona as well as local tenor Carlos E. Bárcenas.

Continuing their prolific production of new work, Victorian Opera delighted with new children’s opera The Selfish Giant (below). Further delight came in December with a highly enjoyable semi-staged concert of The Barber of Seville.

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Melbourne Opera began the year with another of their ambitious outings to a much larger venue, a move that was again well supported by opera lovers of Melbourne. English bass-baritone Darren Jeffery sang the lead in The Flying Dutchman, with Melbourne soprano sweetheart Lee Abrahmsen in sterling form as Senta.

Returning to the Athenaeum, the company enjoyed sold out houses with their new production of Norma. Melbourne-born soprano Helena Dix shimmered in the title role, wonderfully supported by Jacqueline Dark (Adalgisa) in her Melbourne Opera debut and returning tenor favourite Samuel Sakker as Pollione.

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Gertrude Opera and BK Opera continued to entertain Melbourne with imaginative, accessible presentations. In a unique one-night concert, IOpera staged the premiere of Ernst Krenek’s 1929 opera Jonny Strikes Up!. Abrahmsen exhibited her innate talent for twentieth century opera, successfully singing the unfamiliar work with great confidence and gleaming musicality.

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In January 2019, Man in Chair visited London and New York, and was fortunate enough to see Anna Netrebko, Piotr Beczala and Anita Rachvelishvili in Adriana Lecouvreur (below) at Metropolitan Opera, in another stunning McVicar staging. Australian heldentenor Stuart Skelton starred in Bartlett Sher’s production of Otello. Back in London, acclaimed singer actress Ermonela Jaho starred in umpteenth revival of Reichard Eyre’s La Traviata. Westbroek was seen in a rather bizarre staging of rarely seen Tchaikovsky opera The Queen of Spades.

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Ballet

The opening of The Australian Ballet’s 2019 was disrupted with a change of program when the preparation of brand-new Graeme Murphy work The Happy Prince was interrupted by Murphy’s illness. Melbourne saw 2013 Ratmansky work Cinderella (below), with opening night blessed by the glorious performances of married partners Ako Kondo and Chengwu Guo. Happily, The Happy Prince will be seen around Australia in 2020.

2017 smash hit Alice’s Adventures in Wonderland returned, providing a second chance to enjoy Kondo as she danced the title role for which she won a Helpmann Award in 2018.

Guest company Les Ballets de Monte-Carlo presented the unique version of Swan Lake, simply entitled Lac.

The major premiere for 2019 was the new production of Sylvia (below), co-produced with Houston Ballet. Choreographer Stanton Welch mined Greek mythology to complement the slight storyline of the traditional version of Sylvia. Study of the synopsis paid dividends in enjoying the new version, which featured lavish production values and imaginative creative effects. Kondo appeared on opening night again, dancing the title role opposite stalwart fellow Principal Artist Kevin Jackson. During the Sydney season of Sylvia, Benedicte Bemet and Dimity Azoury were each deservedly promoted to the rank of Principal Artist.

The year concluded with traditional favourite Peter Wright’s The Nutcracker. At the performance reviewed by Man in Chair, Yuumi Yamada graced the stage as Clara, with Kondo impressing yet again as the Sugar Plum Fairy.

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The Australian Ballet School continued their sterling work, making a well-polished highlight of Aurora’s Wedding in their Summer Season 2019. (Having been interstate for their September Showcase, Man in Chair was disappointed to again miss Gershwin ballet Who Cares?, which was not able to be performed on opening night of Summer Season 2019).

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On the international stage, Man in Chair seized the opportunity to see a pair of ballets on consecutive nights in Paris in January. Rudolf Nureyev’s Cinderella (below)proved a spectacle on a grand scale, while John Neumeier’s La Dame aux Camélias had a haunting psychological nature.

Perennial favourite Matthew Bourne’s Swan Lake was seen in a lovingly re-polished staging. The Royal Ballet paired charming one-act The Two Pigeons (below) with abstract modern-style Liam Scarlett work Asphodel Meadows.

In New York, Man in Chair saw American Ballet Theatre’ very traditional Swan Lake, an experience that was offset with the chance to see Ratmansky’s somewhat controversial The Sleeping Beauty, which he slavishly researched and choreographed in the original dance style of the time of the work’s origin.

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Best Operas 2019:

Mainstage: Il Viaggio a Reims (Opera Australia)

Independent:  Norma (Melbourne Opera)

Concert: Andrea Chénier (Opera Australia) 

Heavenly Performances 2019:

Mainstage: Saimir Pirgu (Faust, Opera Australia); Ruth Iniesta (Il Viaggio a Reims, Opera Australia)

Independent: José Carbó (The Barber of Seville, Victorian Opera); Helena Dix (Norma, Melbourne Opera)

Concert: Jonas Kaufmann (Andrea Chénier, Opera Australia); Jessica Pratt (Heroic Bel Canto Victorian Opera)

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Best Ballet 2019:

Sylvia

Heavenly Performances 2019:

Ballet: Chengwu Guo (Cinderella, The Australian Ballet); Ako Kondo (Alice’s Adventures in Wonderland, The Australian Ballet)

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Photos: #1, #2, #3, #4, #5, #10, #11, #12 Jeff Busby; #6 Charlie Kinross; #7, #8 Robin Halls; #9, #15 Simon Parris;  #13 Sergey Konstantinov; #14 Paris Opéra Ballet

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Read the Melbourne casting for Volt.

Read the Volt program notes.

Photos: Jeff Busby

Bright and brisk, David McAllister’s autobiography Soar: A Life Freed by Dance nimbly chronicles the sacrifices, setbacks and successes of a life devoted to dance.

Supportively co-authored by journalist Amanda Dunn, Soar is told in the warm tone of McAllister’s voice, giving the reader the sense of being humbly regaled on decades of dance as well as being taken into highly personal confidences of life beyond the footlights.

Anyone who has ever heard McAllister speak, whether at a press conference, opening night or one of the very popular In Conversation With sessions, will be well acquainted with his encyclopaedic knowledge of The Australian Ballet. It is one thing to have pre-prepared notes, but to see McAllister give a detailed and insightful answer to an impromptu question without a moment’s pause is a wondrous sight indeed. This depth of knowledge runs through Soar, and while there was surely a good deal of fact checking involved, McAllister’s memory for intricate details and entertaining anecdotes shines through.

While McAllister has been an approachable, community-spirited public figure during his twenty-year tenure as Artistic Director of The Australian Ballet, a sense of demure privacy has shrouded his personal life, a privacy that has been respected by the press and public alike. Setting the tone for the personal revelations to come, McAllister opens Soar with a tight, candid prologue that reveals a significant early sexual encounter.

Soar then continues its ten chapters in chronological order, taking McAllister from bullied Perth schoolboy to burgeoning young man, thriving amongst his own kind at The Australian Ballet School, Melbourne. It becomes clear that a degree of the privacy around McAllister’s has been his own journey of realisation and acceptance of his sexuality, coloured in early years by his Catholic upbringing. Sharing a non-typical personal life takes a healthy dose of courage, making McAllister’s memoir all the more involving.

McAllister covers significant stage partnerships and brings life to the off-stage camaraderie of the dancers. If dancing for Diana, Princess of Wales were not enough of a career highlight, the success of McAllister and Elizabeth Toohey in Moscow deservedly earns a full chapter of its own. McAllister’s bronze medal saw the pair invited back to perform with the Bolshoi Ballet, a triumph outlined in characteristically humble, yet inspiring, terms.

Serving as something of a sequel to Edward Pasks’ Ballet in Australia: The Second Act 1940-1980, Soar is informed by McAllister’s unique degree of involvement in the history of The Australian Ballet, having moved directly from The Australian Ballet School to dancing with the company for some 19 years, then being its Artistic Director for an unprecedented twenty-year term. Soar is McAllister’s story and does not set out to be a history book, yet lovers of Australian dance will be fascinated by the behind the scenes details about the running of the company.

McAllister’s career runs from a time when Artistic Directors could routinely and candidly comment on a dancer’s personal appearance through to the present, when mental health and wellbeing are rightly valued. While such corporate transformations are somewhat dictated by changes in society, it is clear that McAllister’s pro-active approach to mental health, physical recuperation and even the scaffolding of more extensive maternity leave have reaped dividends for all involved.

In line with McAllister’s authentic spirit of good will, Soar avoids the tendency of many an autobiography to try to shock with salacious details or, worse, exist for the writer to grind axes over long held grudges. Affectionately known to colleagues as Daisy, a moniker that is explained in the book, McAllister seamlessly transfers his sunny world outlook to text, relying on the fascination of the story itself to drive readers to keep turning the page.

It is most unfortunate that this final year of McAllister’s reign as The Australian Ballet’s Artistic Director has been nothing like what was originally planned. The narrative of Soar continues right into the global COVID-19 pandemic, when new mixed program Volt had to be closed after only three performances. McAllister’s practical optimism served to quickly transition dance classes online, with filmed performances being generously shared with the public digitally.

Soar is generously illustrated with 40 photographs over 16 glossy pages, sharing family memories, stage triumphs and the odd fashion disaster.

While Soar primarily tells of the impact of dance in McAllister’s life, the book is a reminder of the joy that his devotion to dance has brought to countless grateful audience members. Lovers of ballet will find much to ponder, savour and enjoy in Soar.

Soar: A Life Freed by Dance is now available for sale.

Photos: #2 David Parker; #3 Branco Gaica; #4 David Simmonds; #5 Julie Dyson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Jeff Busby

After some 21 months, The Australian Ballet finally returns to the State Theatre, the dancers and musicians showing themselves at tiptop form in the very welcome program of this Celebration Gala. 

While the stage appearance of an artistic director at the top of the evening usually draws gasps of dread over which artist will not be appearing, David Hallberg was warmly greeted with the multiple rounds of applause as he seized the opportunity to make his first direct address to the Melbourne audience, despite having held the position of artistic director for almost two years. Revelling in the applause, which he admitted he had waited so long to hear, Hallberg implored the opening night audience to take very chance to applaud the artists of the stage and of the orchestra pit, praising the patience that both sets of artists had displayed during almost two years away from the State Theatre. 

Arguably the spiritual home of the Australian Ballet, the State Theatre has not seen an opening night since Volt on 13 March 2020. On that fateful weekend, theatres around the world went dark, with many still not yet back at full strength. 

Announced after the launch of the 2022 season, this surprise Celebration Gala is a wonderful opportunity for Melbourne audiences to reconnect with their beloved ballet company and look forward to the very full program ahead next year. The program is a chance for the company to present items that were to have been seen in the cancelled season New York Dialects along with a generous serving of traditional favourites. 

While a mixed program often provides the opportunity to enjoy a significant number of Principal Artists on stage together, the Melbourne opening night of Celebration Gala only showcased four of the current ten Principal Artists. While there are factors that may be well and truly out of the company’s control, it is nonetheless something of a disappointment after such a long wait to welcome the company back to the Melbourne main stage. This is not to say that there that there is not an abundance of talent throughout the ranks of the company, with several dancers stepping forward into the spotlight to make very positive and memorable impressions. 

Taking Hallberg’s cue, when the curtain rises to the elegant sight of 17 tranquil female dancers, the audience bursts forth with hearty applause, a response that continues for much of the evening. 

George Balanchine’s time-honoured reflection Serenade proves an exquisite showcase, allowing the audience to simply relax and enjoy the dancers’ long awaited return. The piece has an organic sense of flow, deriving from Balanchine’s creation of the work in class in 1935 New York. Using lightly bent elbows and wrists, the dancers make fascinating geometric patterns, the success of which comes from the tight precision of the whole ensemble. 

Benedicte Bemet seems to carry the lineage of generations of classical ballerinas in her noble countenance. Even in a serious work, her joy of simply being on stage bubbles just below the surface, making her every stage movement a compelling joy to watch. 

Sharni Spencer performs the fall with requisite grace, and looks imperturbably grand while carried off in the twilight moments of the work. Christopher Rodgers-Wilson offers hardy support with modest grace.

After interval, an absolute feast of ballet ensures, with no less than seven variegated items playing out in 80 minutes.

Of all the curated pieces on show, the excerpt from Artifact Suite is the one that really leaves the audience craving more. Boasting 30 crisply precise dancers, the stage is filled with fascinating waves of intricate movement, more than capably led by Coco Mathieson. Solo pianist Kylie Foster provides expert accompaniment, playing the music of Eva Crossman-Hecht with virtuosic flair. 

Anyone who has read 2020 Davis McAllister biography Soar will have had their memory refreshed about the world-conquering success McAllister enjoyed in partnership with Elizabeth Toovey. The inclusion of one of the pair’s great hits, the show-stopping pas de deux La Favorita, is a lovely nod to history and the ideal “party piece” for a Gala program. Much loved principal artist Chengwu Guo is in ever immaculate form, those leaps just as high and landings just as pillowy. Plucked from the corps de ballet, Aya Watanabe is a fresh delight, the pair earning rousing cheers and applause of appreciation. 

While the pas de deux from Act II of The Merry Widow does not quite have the same crowd-pleasing wow factor of La Favorita, the old world sense of romance is beautifully captured by Spencer and Rodgers-Wilson. 

Showing the depth of their range all night, Orchestra Victoria are in particularly fine form in this particular selection, with maestro Nicolette Fraillon coaxing sumptuous sound from the strings. 

A key element of the New York Dialects program, which played in Sydney despite its season being cancelled in Melbourne, Watermark is a new work by Hallberg’s friend and colleague, Pam Tanowitz. Perhaps something is lost by only seeing an excerpt, but the item is met with what can only be described as mystified silence by the audience. Watching the quirky, jerky moves play out, it is very difficult to latch on to the choreographer’s intention. The final stretch features a lone male dancer who is excellent and yet not named in the cast sheet (it is presumed that this excellent dancer is Adam Elmes).

Seen many times yet always a welcome attraction, the Black Swan pas de deux from Swan Lake is thrillingly brought to life by principal artists Bemet and Brett Chynoweth. As strong in acting as in dance, and that is really saying something, the sterling pair conjures the full vivid characterisations of their roles, with Bemet utterly tantalising Chynoweth’s tormented Prince. 

An all too brief excerpt from Chroma sees Imogen Chapman and Cristiano Martino dance with decidedly muscular sensuality. Even without the distinctive setting, seen in Volt (was it really only last year?) and 2014 mixed programChroma, the work nonetheless shines in its own right.

At the closest to Christmas that the main company has performed any part of The Nutcracker in Melbourne in recent decades, the Dance of the Snowflakes brings the program to a magical conclusion, all the better with the surprise inclusion of the full winter wonderland set from the Sir Peter Wright production.  

Jill Ogai conveys the wide-eyed delight of Clara, with King-Wall proving a gallant Prince and Rina Nemoto dancing the Snow Fairy with neatly understated flair. 

Melbourne’s legions of dance lovers can feast once more, and in hearty style, at Celebration Gala. 

Celebration Gala plays at State Theatre, Arts Centre Melbourne until 18 December 2021. For tickets, click here.

To read the Celebration Gala running order and credits, program notes and Melbourne cast lists, click here. 

To read The Australian Ballet’s COVID-19 Ticketing Policy, click here. 

Photos: Jeff Busby

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cast your vote in the 2022 Telstra Ballet Dancer Awards. 

Footnote:

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

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

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

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

Swoon-worthy dance and design grace the mighty State Theatre as international hit musical An American in Paris jetés into town. 

Deliberately marooned in Paris at the end of WWII, ex-serviceman Jerry Mulligan juggles art, romance and music as he makes new friends, attracts the attention of a wealthy benefactress and falls helplessly in love with a mysterious young dancer.

Premiering in Paris in 2014 shortly before its 2015 Broadway opening, An American in Paris follows My One and Only, Crazy for You and Nice Work If You Can Get It in mining the timeless treasures of the Gershwin brothers canon, in this case to expand the selection of Gershwin songs used in the classic 1951 movie upon which the musical is based. 

Adapted and arranged by ’s marvellous maestro Rob Fisher, the 17 musical numbers are an absolute delight, especially when heard alongside the recent proliferation of rock musicals in Melbourne. Exacting music director Vanessa Scammell leads a generous contingent of 27 musicians from Orchestra Victoria in a richly hued performance of the gorgeous melodies and fascinating rhythms. 

Performing a double duty that is increasingly rarely seen, Christopher Wheeldon harks back to the Golden Age, seamlessly integrating dance and action the way that only a director/choreographer can. Wheeldon uses dance to illuminate character and propel plot and, occasionally, to stop the show, as with the act two extravaganza “I’ll Build A Stairway to Paradise.”

Wheeldon crafts affecting vignettes, creates vividly detailed ensemble tableaux and even sends up his own form with the exaggerated ballet recital that opens act two. As with the movie, the musical climaxes in an incredible “An American in Paris” ballet, which holds the audience spellbound for the full 14 minutes.

Speaking of double duty, renowned designer Bob Crowley contributes sets and costumes, painting an alluringly romantic vision of post-war Paris. Backdrops, projections and set pieces dance into view with the same elegant grace as the ensemble, achieving an ever more visually appealing array of stage pictures. This touring production makes additional use of projections, designed by 59 Productions, with several backdrop set pieces replaced by projected images. The overall effect remains just as effective as that seen in New York and London.

In a unique arrangement, original Broadway and West End stars Robbie Fairchild and Leanne Cope have travelled to Australia to recreate their lead roles. With the dance requirements in particular stretching the usual bounds of triple threat talent, the challenging roles are difficult ones to fill successfully. From the ranks of co-producers The Australian Ballet, Cameron Holmes and Dimity Azoury have been cast as alternates, performing the lead roles in two of each week’s eight performances. 

Fairchild is absolute dynamite as Jerry, dancing with a level of skill and flair rarely seen in musical theatre; the fact that he sings and acts the role just as well completes the miracle. Jerry does not dance until the fourth number, and when Fairchild takes full flight in “I’ve Got Beginner’s Luck,” the audience is practically blown backward in their seats. Sparks fly when Fairchild dances with Cope, but his solo in the title ballet is a true highlight. This is a tremendous performance that really must be seen.

Cope is utterly charming as dear Lise, effortlessly conveying the appeal of an innocent young woman who has amassed three suitors (who all happen to be best friends). Cope has a sweet , pure singing voice, heard at its best in act one ballad “The Man I Love.” As with Fairchild, the quality of Cope’s performance stems from her innate ability to continue to act while dancing. In the hands of both of these artists, no step is just a step; everything occurs for a well-considered reason. 

Fairchild and Cope are ably supported by a trio of local performers giving breakout performances.

As embattled composer Adam, Jonathan Hickey contributes dreamy vocals that fit the Gershwin style to a tee. “But Not for Me” is a wonderful highlight of act two. Hickey also proves a subtle comedian, scoring laughs whilst also gaining the audience’s sympathy in his adorable underdog role.

Sam Ward makes for a terrific Henri, portraying a young man questioning his sexuality without so much as a trace of stereotypical behaviour. Possessing a warm, rich singing voice, Ward capably proves himself a leading man in the making. 

Although heiress Milo Davenport is the fly in the (romantic) ointment, Ashleigh Rubenach brings an easy likability to the role. Looking a million dollars in Crowley’s designer gowns, Rubenach’s vocal performance is first rate, with “Shall We Dance?” being a particular highlight. 

Theatrical treasure Anne Wood proves yet again that there are no small roles, bringing a delectable brittleness to Madame Baurel then allowing her to melt when the time is right. In what is practically a cameo role as Monsieur Baurel, David Whitney lands a crowd-pleasing moment in act two as a before-his-time father warm-heartedly accepts and embraces his nervous son’s life choices. 

The 16 artists of the ensemble are a joy to behold, dancing Wheeldon’s deliciously creative choreography with balletic style, grace and focus. Special mention to Mitchell Mahony in the characterful role of dance impresario Mr Z and Annie Stanford as wearyingly droll ballet mistress Olga. The Australian Ballet Soloist Jake Mangakahia stands out in the ensemble, particularly when partnering Cope in the climactic title ballet. 

While the title of the musical may not be as well known as another little show opening in Melbourne this week, the season of An American in Paris should nonetheless be seen for the major artistic event that it is. For lovers of good old fashioned musical theatre fare, the ravishing spectacle of An American in Paris will be sure to dazzle and delight.

An American in Paris plays at State Theatre, Arts Centre Melbourne until 23 April 2022. For tickets, click here. 

To read the casting schedule for the two lead roles, click here.

An American in Paris plays at Theatre Royal, Sydney 29 April – 12 June 2022.

An American in Paris plays at Crown Theatre, Perth 9 – 27 July 2022.

An American in Paris plays at Her Majesty’s Theatre, Adelaide 24 January – 12 February 2023.

For tickets in each location, click here.

Man in Chair reviewed An American in Paris on Broadway.

Photos: Darren Thomas

The mighty State Theatre stage becomes a bustling, beautiful “room full of art” as The Australian Ballet brings modern masterwork Kunstkamer to Melbourne. 

“Ouch!” 

As David Hallberg makes a silky smooth glide down into a front split, the cry rings out from the stage, instantly establishing a gentle touch of cheeky, unexpected humour that is set to bubble along beneath the dance spectacle on show.

Amidst lingering COVID-delayed productions, Kunstkamer serves as a vivid signal of the tone to come as Hallberg settles into his role as artistic director. With The Australian Ballet approaching their 60th anniversary, the performance of this work created for the 60th anniversary of Nederlands Dance Theatre (NDT) is a visionary way to both celebrate and demonstrate the depth of talent in the company.

Placed in a time of year when there may previously have been a “mixed program,” Kunstkamer is like a triple bill on steroids, the seamless result of the respectful, sympathetic collaboration of four prolific choreographers. Ostensibly a piece of modern dance, the work is firmly rooted in the rigour, line, beauty and exquisite expression of classical ballet. As such, the piece is an ideal fit for The Australian Ballet, and the company works as one to present a dazzling, electrifying showcase.  

Having co-created more than 60 works for NDT, Paul Lightfoot and Sol León clearly speak the same dance language. Joined by freelance choreographer Crystal Pite and NDT associate choreographer Marco Goecke, the team has crafted a swiftly flowing program of almost twenty complementary pieces. While the distinctive style of each choreographer is evident and each piece unfolds its own delightful surprises, there is nonetheless a clear cohesion of theme and connection driving through the evening. 

Beginning each act on stage alone, Hallberg gives freely of himself to forge an even stronger bond with his new local audience. As the superstar dancer transitions to his new offstage role, this opportunity to marvel at the effortless elegance of his singular talent is one to be cherished. 

Hallberg is joined by guest artist Jorge Nozal, the pair creating a sense of a vaudevillian duo as they move in gentle synchronicity. 

Towering set pieces initially create a sense of cramped space before opening out into a vast stage. Designed by León and Lightfoot, the panelled walls with multiple doors and high windows create a grand institution where the “chamber of curiosities” unfold. 

Maestro Nicolette Fraillon again demonstrates the unflappable versatility of her musical talent, seamlessly taking Orchestra Victoria on a journey through classical works by Beethoven, Gluck and Purcell through to modern pieces from Arvo Pärt and Ólafur Arnalds. 

“Bartók” is accompanied by an incredibly expressive solo tambourine, with solo piano and solo violin also showcased in act two.

Amidst the quirky technicality of dance there are moments of emotion, a highlight being early act two pas de deux “Forever A Second Déja Vu,” danced with aching beauty by Lilla Harvey and Callum Linnane. Throughout the evening, Linnane radiates the raw, exciting energy that makes his every performance a thrill to behold. Subsequent pas de deux “Gluck” sees soloist Jill Ogai pair with coryphée Lucien Xu to potent effect.

Principal artists Amy Harris and Brett Chynoweth compete the set of featured cast members. Harris and Chynoweth each bring a distinctive blend of sterling technicality and characterful presence.

Over and above the striking work of the featured artists, it is the ensemble dances that are the highly memorable, visual highpoint of Kunstkamer. Whether it is ten or fifty, each time a set of corps dancers appear, there are unique sequences featuring magical ripples and pulses that can only succeed like this when a company of dancers performs with a single heartbeat.

The finale builds to a grand stage picture, in which the full company positions themselves as for a characterful group portrait. In a moving touch, the 2022 dancers are backed by the overhead projection of The Australian Ballet 1965 company. 

Kunstkamer plays at State Theatre, Arts Centre Melbourne until 11 June 2022. For tickets, click here.

Kunstkamer will be streamed live on Ballet TV on 10 June 2022. For details and tickets, click here. 

The Melbourne Kunstkamer cast sheet can be read online. This includes further dates when David Hallberg is scheduled to perform.

Photos: Jeff Busby

Delectable sugar-spun confection Harlequinade plays to the classical strengths of The Australian Ballet, the feather-light work seen at its best in this splendidly danced season. 

Meticulously reconstructed by Alexei Ratmansky from Petipa’s original 1900 work, Harlequinade offers a unique blend of delightful classical dance tempered with gently whimsical comedy, all wrapped in a sparkling bow of glossy design. A stark contrast to previous offering Kunstkamer, the ballet provides the company with characterful roles and abundant opportunity to demonstrate the collective strength of their classical technique. 

Having played Pierrot in the 2018 premiere season of this co-production at American Ballet Theatre, artistic director David Hallberg’s affection for the piece clearly evident in his pre-curtain address. Delayed by COVID, the Australian premiere begins its exclusive Melbourne season in pristine form, filling the capacious State Theatre stage in grand style. 

Ratmansky’s choreographic restoration is handsomely complemented by similar painstaking work from designer Robert Perdziola. The immaculate costumes and quaint settings achieve the overall effect of transporting the audience to a bygone age of traditional storybook ballet. Harlequinade begins in the type of merry village square seen in Coppélia or Le Corsaire, with act two bringing to mind the pomp and sheer joy of Aurora’s Wedding, set in a grand hall with the wonderful 3D effect of a rear curved atrium. 

Vivid jewel-toned costumes conjure a treasure chest of beloved toys come to life. A striking feature of the overall restoration is the way that the colours and styles of the costumes are so integral to the ever changing stage picture created by corps choreography. Act two has the all pageantry of a Gala, the large cast boosted by 32 young dancers sporting miniature versions of the lead characters’ costumes, with one further child playing companion to the Good Fairy.

Storytelling is breathlessly brisk and warmly humorous. Thrown to his death then dismembered by hapless wardens, Harlequin returns to life faster than any character on Days of our Lives. Extensive mime work is crisply delivered and humour is perfectly downplayed so as to avoid any tendency towards slapstick even though Harlequin is literally holding a slap stick.

A noticeable feature of the choreographic staging is the incorporation of highly theatrical bows after key dance sequences. Further to this, the evening concludes with presentation of the two lead pairs of dancers in front of the curtain, a practice seen regularly overseas but rarely, if ever, used in Australia. 

Led by redoubtable maestro Nicolette Fraillon, Orchestra Victoria soars through the melodious score of Riccardo Drigo. While Petipa’s masterworks were, of course, set to the glorious music of Tchaikovsky, Drigo provides a close comparison, one that audience members will readily enjoy at first listen. A charming highlight of the score is the sequence played by brass, beginning with sumptuous French horns, to signal the grand pas de deux, in which Columbine flits about as a lark while Harlequin plays a hunter. The significance of this sequence is signalled by the fact that the overture opens with these notes. 

Benedicte Bemet is in her element as precious Columbine, dancing with the exquisite precision of an actual doll. Although the character work for Columbine does not call for much more than sparkling, Bemet does so with effortless grace. All this, plus a jaw dropping sequence of hopping en pointe. Brava!

His expressive face masked, Brett Chynoweth nonetheless exudes abundant character as lovestruck Harlequin, using his entire physicalisation (all the way to the tassels of his hat) to convey a cheeky joie de vivre. A supportive and romantic partner, Chynoweth really wows in his all too brief solo work. 

Quite unrecognisable with his distinctive head of wild curls hidden under a mushroom-shaped hat, Callum Linnane plays against type as floppy sad clown Pierrot. Linnane underpins Pierrot’s interruption of the lovers’ bliss with a soulful air of humanity. 

In the somewhat thankless role of Pierette, senior artist Sharni Spencer shines in the polished precision of her dance and conveys a warm connection to Pierette’s dear friend Columbine.

Adding to his growing repertoire of character roles, Stephen Heathcote makes a welcome appearance as Columbine’s blustery father Cassandre. Ingrid Gow imbues the Good Fairy with gracious elegance. 

Timothy Coleman proves there are no small roles, giving a fabulously fey turn as prospective paramour Léandre.

With a running time of 105 minutes (including interval), Harlequinade is ideal family entertainment. As a child’s first ballet, it would surely establish a lifelong love of the form. For aficionados of classical ballet, Harlequinade is an irresistible treat. 

Harlequinade plays at State Theatre, Arts Centre Melbourne until 25 June 2022. For tickets, click here.

Harlequinade will be streamed live on Ballet TV on 24 June 2022. For tickets, click here.

The Harlequinade cast sheet can be read online. This includes dates when guest artist Daniil Simkin is scheduled to perform. 

An update from the front line: given the hopeless arrangement of patrons fruitlessly attempting to use Arts Centre Wi-Fi to view the electronic cast sheet, physical cast sheets are now mercifully back in use. Please recycle the paper if not retaining the sheet as a keepsake.

Photos: Jeff Busby

Melbourne ballet cognoscenti are treated to an intensely intimate performance as The Australian Ballet presents a long awaited fresh new season of Bodytorque. 

With a chic foyer that serves champagne and popcorn, Transit Dance Theatre is an ideal venue, its comfortable raked seating offering perfect sight-lines beneath a towering industrial ceiling. Ever gracious Artistic Director David Hallberg welcomes the audience, describing the original choreography on show as the “seed of an idea being planted.” 

A labour of abundant love, the generous program sees six original works performed by a mighty contingent of the company. An added bonus sees five of the six pieces accompanied by live music. Young maestro Alexander Rodrigues demonstrates the impressive breadth of his musical range, capably conducting an eclectic range of styles. (Meanwhile, Music Director Nicolette Fraillon proves a great sport, toiling in the music crew between numbers.)

Free of settings, the versatile black box space comes to life with the simple, yet highly effective, lighting design of Graham Silver.

While this new season of Bodytorque has been a long time coming, there is nonetheless a palpable sense of the current post-lockdown craving for connection. Tactile physical interaction surges through the works, with ever-dynamic changes in fluid combinations of genders. 

As the house settles, Jill Ogai has five of her six dancers set the scene with a seemingly free form series in which one dancer leaves the pack and the other swiftly follow. in time begins with subtle long notes of tension-inducing music. In the absence of rhythm, and even occasionally in silence, the dancers miraculously synchronise with deft precision. 

In the second half of the piece, Rosa Clifford’s abstract score cedes to the far more traditional classical music of Bach. The choreography that has been performed to near silence now has that familiar accompaniment that brings a distinct feeling of satisfying completion.

With his dancers in tight brief singlets, Mason Lovegrove highlights the intimacy of modern dance in comparison to the stiff tights and tutus of the classical repertoire. Six dancers yield myriad pairs, moving sinuously to a strikingly beautiful score by Tomas Parrish. In a memorable highlight, sparks fly as Brett Chynoweth and Christopher Rodgers-Wilson perform a sizzling pas de deux. 

Given the title of ANGEL // ALIEN, the sudden appearance of Jarryd Madden after a midpoint blackout means he could be either one of these. As the piece comes to a close, Madden partners with Imogen Chapman in a wonderfully sensual pas de deux. 

Xanthe Geeves takes her title Pura Vida from the Costa Rican expression for living life to the full. Physical closeness rises another notch in this piece, with a pair of proudly shirtless men joined by two briefly clad women. The quartet of dancers vibrantly conveys the joy of performing together, maintaining palpable warmth by keeping eye contact with each other as they dance. 

Working with crisp precision, the two pairs create lovely symmetry; just as fabulous are the inventive pictures staged when the four dancers combine. Performed to the music of Boccherini, this classy and confident piece brings the first half of the program to a strong finish.

Timothy Coleman daringly breaks the mould of abstract modern dance by staging a gripping psychological thriller in One Person Watching. A down-to-earth couple, charmingly played by Coco Mathieson and Joseph Romancewicz, amuses the audience with their affectionate chatter, all the while watched by Callum Linnane from his neighbouring window. 

Linnane summons a hefty corps of spirits who alternately support and torment his troubled character’s mind. May Lyon’s music supports a gentle freedom in the dance while providing a tense undertone, particularly from the highly expressive notes of the contrabassoon. Linnane concludes the piece with a dazzling solo as his character descends into frenzied madness. 

Cleverly named, In Ex Celsius plays with the interplay of heat energy and kinetic motion. Crafting tight and precise choreography, Serena Graham keeps five pairs of dancers (or is that two sets of five dancers?) in constant motion. Neat black and white costumes add to the clean precision. 

The hypnotic music of Ravel provides a driving accompaniment, the surge of momentum ever present as the dancers create crisp, visually arresting stage pictures. A particularly magnetic pairing is seen when Sharni Spencer is partnered by Hugo Dumapit. 

The program concludes with an electric jolt of energy as Benjamin Garrett expresses the passionate emotions of his generation in KIDS THESE DAYS. Recorded music provides an infectious doof doof beat while flashing lights and masses of haze conjure a nightclub setting. Beginning in androgynous soft grey hoodies, the seven dancers soon peel off their tops to reveal torn black, white and blue undergarments that are personalised for each dancer to become part of their expression. 

The exciting piece moves between individualised dance and highly synchronised sequences. A signature move is seen in incredibly fast spinning arms. After the outpouring of youthful energy, the piece ends with the haunting image of the full group frozen in silent screams. 

Bodytorque plays at Transit Dance Theatre, Brunswick until 13 August 2022. For tickets, click here. (Note: at time of publication, the season of Bodytorque is sold out.)

The Bodytorque cast sheet can be viewed online. 

Photos: Edita Knowler

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Jeff Busby

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hot on the (pointe shoe) heels of two main stage seasons, The Australian Ballet is straight back on stage, hosting the pandemic-delayed modern dance festival, DanceX. 

Theatres have well and truly swung their doors wide open again, and yet the thrill of returning to live performance remains fresh and exciting. Dancers are to be especially admired for their extraordinary fortitude in preserving their strength, fitness and finesse, all while being robbed of month upon month of the precious oxygen of live audiences. Every opportunity to celebrate the intrinsic bond between artist and audience is one to be warmly embraced.

Arranged in three parts, DanceX sees a generous program of modern dance from nine companies roll out over 12 very full days. The celebration makes an auspicious beginning in Part One, in which dancers of The Australian Ballet perform in an eclectic quadruple bill, filled out by pieces from Sydney Dance Company, Lucy Guerin Inc, and Bangarra Dance Theatre.

On opening night, artistic director David Hallberg introduced Wurundjeri Elder Uncle Bill Nicholson, who praised the respect shown by The Australian Ballet in inviting him to be there to give a Welcome to Country. Echoing Uncle Bill’s sentiments, Hallberg referred to the “unity in community” when dance companies come together like this.

DanceX Part One opens with nine dancers from The Australian Ballet performing the Australian premiere of I New Then, by Swedish choreographer Johan Inger. Having premiered in 2012 at Nederlands Dans Theater, the personality and individuality of the piece bring to mind NDT’s Kunstkamer, performed by The Australian Ballet earlier this year.

A quirky, often startling work, I New Then begins with Callum Linnane shadowed by Adam Elmes before gradually introducing the full cast. Dressed in casual street wear, their hair unstyled, the dancers project an easy-going, real-world vibe. A soundtrack of Van Morrison music adds to the raw, edgy feeling. The black box stage has a large set of black poles in the upstage left corner, creating a seperate zone to the full stage. 

Featuring moments of welcome humour, the work is finely calibrated in its waves of energy, moving from gentle silence to dazzling full company power. Midway through brings a terrific climax, with all dancers gradually moving together in crisp unison, the tightness of this sequence all the more impressive given the seeming randomness of the moves.  

Linnane delivers a fabulous solo as he watches and reacts to Dimity Azoury and Elmes slowly and romantically undressing.  Like a drama exercise on steroids, Linnane cycles through a range of voices and physical characterisations, at times practically appearing to be speaking in tongues. 

As kinetic energy builds in the final movement, all dancers gradually undress to their underwear, increasing the sense of candid exposure of their natural selves. 

Beginning with a distinct change of pace, Liam Green and Mia Thompson dance a slow, sensual pas de deux to the evocative cello concerto Klātbūtne by Pēteris Vasks. This intimate duet is the first movement of ab [intra], the acclaimed 2018 work from Sydney Dance Company. 

As ab [intra] proceeds, the company of 13 dancers, androgynous in appearance, gradually enter and perform the increasingly fluid second half, in which choreographer Rafael Bonachela utilises ambient electronic music by Nick Wales. This movement proves a complementary partner to I New Then in its vocabulary of surprising movement executed with great flair. 

Throughout ab [intra] there is a strong sense of theatrical style, particularly in the incorporation of the subtly kinetic lighting design of Damien Cooper. Energy lifts as the affecting piece builds to a full company climax before one final, highly expressive solo from Dean Elliott. 

Following interval, a change of pace sees a gently hypnotic pas de deux from Lucy Guerin Inc as Samantha Hines and Lilian Steiner show the audience How To Be Us. The brisk world premiere work begins in tight synchronisation to the beat of a metronome before introducing elements of characterful individuality. This individuality is clearly attributed to the unique creation process, in which choreographer Lucy Guerin incorporated choreography from the dancers themselves. 

Hines and Steiner work as a tight team, dancing in close proximity throughout How To Be Us. The kinetic choreography draws on the pair’s athleticism, which is sweetly tempered by their grace.  

While the costumes, by Geoffrey Watson, initially appear black, each dancer has vibrant colour on the rear of their costumes, allowing for vivid pops of colour that are carefully worked into the choreography. 

In a suitably grand finale, Bangarra Dance Theatre presents their celebrated 2010 work, Terrain. Evoking the salty landscape of Kati Thanda-Lake Eyre, choreographer Frances Rings creates a stirring sense of ritual and storytelling, moving from an all-male troupe, to all-female before ultimately integrating the company of 15 for the final sequences.  

Strikingly costumed by Jennifer Irwin, Terrain brings a touch of the earth on stage, with the white clay adorning the dancers gradually covering the stage and rising in clouds when stirred. Beginning in the black box space, the work introduces an abstract landscape backdrop, which later, in a stunning effect, is gradually lit from behind with a rising golden aura. 

Dancing to the emotionally charged music of David Page, the Bangarra dancers work seamlessly as a team, with little emphasis on solo or duet work. Shared intent and focus are clearly transmitted, and the dancers impress with the level of strength displayed when called upon to make expressively slow movements. 

As a wonderful final touch, the full ensemble of dancers joins their counterparts from Bangarra on stage for a massed curtain call. The exuberant opening night audience showed their gratitude and admiration in an enthusiastic standing ovation. 

The opportunity to sample so many top flight companies in one abundant program will be a boon to lovers of contemporary dance, who are set to revel in the incredibly broad scope of DanceX.

The DanceX Cast Sheet can be read online. 

DanceX Part One plays at Playhouse, Arts Centre Melbourne until 22 October 2022.

DanceX Part Two plays at Playhouse, Arts Centre Melbourne 25-28 October 2022.

DanceX Part Three plays at Playhouse, Arts Centre Melbourne 29 October-1 November 2022.

For tickets to DanceX, click here.

Photos: Kate Longley

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Melbourne Don Quixote cast sheet can be read online.

Photos: Rainee Lantry

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Melbourne cast list for Identity can be read online.

Photos: Daniel Boud

A living dream of loveliness, Jewels unfurls its regal beauty in a splendiferous program of three shimmering works of classical abstraction. 

Long overdue for its premiere season from The Australian Ballet, Jewels sees prodigious choreographer George Balanchine at his ingenious best. Created for the New York City Ballet, the 1967 premiere of Jewels broke ground as a full-length classical ballet with no narrative. Presented in three unique acts, Emeralds, Rubies, and Diamonds, the work immerses the audience in a fantasia of beauty in which they are free to imagine whatever settings, themes, and intentions they wish. 

Having being performed across the globe by the world’s top companies, the local premiere of Jewels has been keenly anticipated and The Australian Ballet delivers a sterling performance to live up to and, indeed, exceed expectations. The recent increase in precision displayed by the company finds its ideal showcase here, and the performers appear to enjoy dancing the work as much as the audience enjoys watching. 

Jewels is presented in strict accordance with its original production, with costume design by the legendary Barbara Karinska, set design by Peter Harvey, and lighting design by Ronald Bates (reproduced by Perry Silvey). The combined splendour of the design fills the vast State Theatre stage with sumptuous colour. Each of the three acts is greeted with applause and gasps of wonder at the rising of the curtain.  Visually dazzling, each act is designed around its titular jewel. Sparkling particles float overhead while dancers sport gem-encrusted costumes that continue to actively sparkle even when the dancers are stationary.

Staged for this production by Sandra Jennings, Balanchine’s choreography is a marvel to behold, wonderfully theatrical despite the absence of formal storytelling. Each act has its own sense of style, with the only through-lines being the spectacular use of symmetry and the sheer pleasure of dance for its own sake. 

Making seemingly easy work of the range of musical styles, conductor Daniel Capps leads Orchestra Victoria in a performance brimming with a vibrant beauty of its own. 

Set to the emotionally charged music of Gabriel Fauré, Emeralds conjures a glamorous air of heady romance. Dancing a set of slow, sultry pas de deux, Principal Artists Sharni Spencer and Callum Linnane imbue their partnership with palpable chemistry. 

The playful pas de trois sees Larissa Kiyoto-Ward and Katherine Sonnets dance with coquettish spirit, partnered nobly by Drew Hedditch.

As the second principal couple, Imogen Chapman and Maxim Zenin neatly contrast the amorous aura of Spencer and Linnane as they skilfully bring out the proudly showy choreography of their pas de deux. 

Running a mere 19 minutes, Rubies is a scintillating shot of adrenaline, featuring electric dance and striking design. Against a background of black velvet, the floating red gems take on the look of sparks of lava erupting from a volcano. Petite costumes have a vaguely Roman centurion feel and have their own beautiful range of movement. 

Rubies uses Igor Stravinsky’s “Capriccio for Piano and Orchestra,” with solo pianist Duncan Salton providing a dramatic jazz-infused accompaniment.

Principal Artists at the top of their game, Ako Kondo and Brett Chynoweth have the most fun of the evening as they flit about in perfect synchronicity of movement and style. Working with absolute trust and well established shorthand, the pair shoots dynamic sparks off each other as they briskly burn through crisp, tart formations all the while keeping a twinkle of delight in their eyes.

Isabelle Dashwood impresses mightily as the featured soloist, a compelling figure in a stage full of her peers. Willowy and elegant, Dashwood dances with serene confidence and adopts some astonishing positions along the way. 

The most purely classical of the three, Diamonds is set to the music of ballet’s most treasured composer, Piotr Ilyich Tschaikovsky. Playing out like the third act of a romantic storybook ballet, the lavish work features a stunning corps of 32 dancers supporting a central couple who dance an extended grand pas de deux. 

Dressed in gleaming white, the corps creates a multitude of gorgeous formations, their tightly  disciplined work making the intricate patterns all the more beautifully realised. Climactic moments of unison work are nothing short off stunning. 

The personification of old world glamour, Principal Artists Benedicte Bemet and Joseph Caley delight as the commanding principal couple of Diamonds. With a gentle air of chemistry, the pair enhances their work with an underlying aura of romantic affection. 

The picture of poise and maturity, Bemet channels the exquisite polish and grace of a true prima ballerina,  While Caley is initially called upon mostly as a support, he seizes the opportunity to dazzle with his stunning solo work.

A ballet to be treasured, Jewels is a must-see for lovers of the unabashed beauty of pure classical dance.

Jewels plays at State Theatre, Arts Centre Melbourne until 8 July 2023. For tickets, click here.

The performance of Jewels on 6 July 2023 will be available as a livestream. For tickets and information, click here.  

The Melbourne casting for Jewels can be read online. 

Photos: Rainee Lantry

Precision and polish are at a premium as The Tokyo Ballet makes their very welcome Australian debut with cherished romantic classic Giselle. 

With The Australian Ballet jetting off to London to perform Jewels and a 60th Anniversary Celebration at Royal Opera House Covent Garden, the program space at home is filled by world renowned company The Tokyo Ballet. 

A full contingent of dancers along with lavish sets and costumes from The Tokyo Ballet grace the State Theatre stage. Adolphe Adam’s charming score is played by Orchestra Victoria, more than capably helmed by guest conductor Benjamin Pope. 

While The Australian Ballet has presented many a season of Giselle, this tour marks the Australian premiere of the Leonid Lavrovsky choreography, originally created for the Bolshoi Ballet in 1944. Lavrovsky’s choreography closely follows the traditional version from Jean Coralli, Jules Perrot, and Marius Petipa, with this season featuring the special inclusion in act one of the Peasant pas de huit by famed Russian dancer and choreographer Vladimir Vasiliev. This vibrant, larger scale sequence replaces the usual Peasant pas de deux. 

From the opening moments, acting and mine are beautifully and clearly performed. Storytelling is crystal clear and richly involving, and characters are sharply and engagingly drawn.

The curtain rises on a notably pristine version of the customary setting of Giselle’s home and a cottage with the grand palace looming amidst snow-capped peaks in the background. Nicola Benois’ set design sees the action framed by branches bearing fluffy leaves so autumnal that they must be set to fall at any moment. 

The autumnal tones continue in Benois’ pretty act one costume designs, with peasants in chocolate brown and olive, and royals in richer Mediterranean shades. Giselle wears white with a royal blue gradient at the waist; the girls in the pas de huit sport a similar style with pastel gelato shades at the waist. 

The autumnal colour theme pays off handsomely in the final stage picture of act one, in which lighting director Takashi Kitamura paints the forlorn figures in a wonderfully warm golden twilight. 

An endearingly tender, delicate Giselle, Akira Akiyama is a delight to watch, deftly conveying the much loved character while performing virtuosic dance. A clear highlight is Akiyama’s dazzling performance of the Giselle act one variation. Impeccably and characterfully danced, Akiyama’s mad scene is all the more heart rending for the sheer believability of the precious young woman’s tragedy. 

Yasuomi Akimoto makes a strong impression as Albrecht, ensuring that the covert Count precariously straddles the line between hero and cad. 

Corps dance sequences delight in act one, and the attractive placement of the corps about the stage during the divertissements is a further indication of the artistry at play here. Once those harvest festival divertissements start, there is nothing to do but sit back and enjoy the cavalcade of dance pleasure. 

Graveside in act two, overhead gnarled branches create a spooky silhouette as Wilis magically emerge from the mist. The grieving Hilarion is scared away by floating flames. In a distinctly crowd-pleasing moment, the veils of the Wilis are whipped off into space shortly aft their first en masse entrance. 

Akimi Denda begins the act with poise and purposeful presence as Myrtha, imperial Queen of the Wilis. 

The corps of 24 Wilis (plus two featured Wilis) showcase the precision of the company at its dazzling best. While this precision is grounded in the highly impressive synchronicity of dance and the enhanced by the perfection of the costumes, the exactitude is further boosted by the homogeneous cohort of dancers. 

Junya Okazaki compellingly captures the mania of tortured Hilarion as he is driven to dance himself to death.

As the ghostly Giselle tries to appear to the mourning Albrecht, Akiyama dances with aching slowness, exhibiting incredible control and composure. 

Akimoto makes the most of Albrecht’s featured solos to thrillingly demonstrate the depth of his abilities, featuring crisply elegant entrechat and resoundingly percussive cabriole. 

Framed by the heavenly Wilis, Akiyama and Akimoto draw forth aching yearning and plaintive longing in their delicately calibrated final pas de deux. Excellent in solos, the pair is truly exquisite together.

This premiere Australian season for The Tokyo Ballet is a landmark event for local lovers of dance. After marvelling at the riches of Giselle, it can only be hoped that the company will visit Australia again in the (not too distant) future. 

Giselle plays at State Theatre, Arts Centre Melbourne until 22 July 2023. For tickets, click here. 

Casting for Giselle can be read online.

Photos: Kate Longley

Synonymous with ballet the world over, Swan Lake takes flight once more as this keenly anticipated new production commemorates the 60^th anniversary of The Australian Ballet. 

The very first ballet to be staged by the company, Swan Lake has marked both the 40^th anniversary (in an iconic reimagining by Graeme Murphy) and the 50^th anniversary (in a less impactful traditional production from Stephen Baynes). 

The choreography for this new production has input from artists reaching across the decades of the company’s history. Based upon the 1977 production by then artistic director Anne Woolliams (after Marius Petipa), there is additional choreography from Ray Powell, new additional choreography from Lucas Jervies, coaching from 1977 opening night Odette/Odile Marilyn Rowe, and direction from current artistic director David Hallberg. 

Dancers and audiences alike have waited for Swan Lake to return. Standout featured performers in the 2016 revival of Baynes’ Swan Lake are now Principal Artists, with Benedicte Bemet, Sharni Spencer, and Dimity Azouri each making their debut as Odette/Odile in this season.

The high performance standard of Swan Lake benefits not just from the sheer number of dancers in the cast but also the formidable depth of talent across the company. From festive divertissements to the awe-inspiring corps of swans, there is beauty and wonder on display at all times. 

Under the exacting baton of maestro Jonathan Lo, the much-loved Tchaikovsky score sounds sumptuous as played by Orchestra Victoria. Special mention to harpist Tijana Kozarcic for her truly lovely work. 

Placing his own stamp on the ballet, Hallberg has gathered international artists for the creative team. 

Quite possibly taking a higher proportion of the budget than the sets, Mara Blumenfeld’s costumes are a delectable rainbow of luscious Mediterranean shades. A highlight is the post-modern version of party wear worn by the visiting noble women, sporting skirts that are clearly too short for the era but are oh-so-chic, not to mention perfect for dance.

Set designer Daniel Ostling manages to develop an effective visual through-line for the production, a key aspect of which is the presence of stark shadowed trees in every scene. Replacing the royal palace with a grand manor house, the act three ballroom is clearly the interior of the same stately home seen in act one.

Lighting designer T.J. Gerckens has the pristine white swans seen at their sparkling best. Use of shadow creates intriguing mystery around the rear cliff face for the ballet’s tragic climax. 

In a brief prologue, von Rothbart, dressed not unlike the Phantom of the Opera, transforms the latest batch of unfortunate maidens into swans. As act one begins, peasants and patricians take turns in dancing merrily to celebrate the name day of Prince Siegfried. Act one is a vibrant cavalcade of ensemble dances, presented with a strong sense of organic spontaneity. 

A clear highlight of act one is the inclusion of the pas de six, a beautifully expressive sequence danced by Rina Nemoto, Jill Ogai, Mason Lovegrove, Nathan Brook, Yuumi Yamada, and Aya Watanabe. Ogai, in particular, stands out with a delicately expressive solo. 

The act three ball sees three young women presented to the distracted Siegfried as options for marriage. Keeping the colours vibrant, Blumenfeld shows restraint in her costuming, denoting a distinctly Spanish cohort but keeping the the other two groups generically European. 

Resplendent in gleaming white, Joseph Caley, as Prince Siegfried, appears just slightly affected by nerves in his reflective solo at the act one curtain. There are palpable sparks of chemistry at the first meeting of Siegfried and Odile, and Caley goes on to command many a sweeping highlight. 

From her very first appearance, Bemet is in total control as Odile, her every move filled with precision and purpose. Bemet and Caley have the audience in their thrall for the act two pas de deux, which is a clear highlight of the entire evening. 

As Odile, Bemet makes a fully realised contrast to Odette, playing the sensual young woman in black as a self-confident coquette who is wickedly enjoying the game that she and her partner von Rothbart are playing. 

Returning as Odette, Bemet utilises her entire physicality in a heart rending evocation of the dying swan. 

While much of the focus is on the new production, Bemet’s sterling performance ensures that dance itself shines in the spotlight as well.

With the audience still catching their breath after that extraordinary pas de deux, the beloved Cygnets are a very welcome relief with their cheeky synchronicity, delightfully performed by Yuumi Yamada, Jill Ogai, Jade Wood, and Aya Watanabe.

A significant feature in their own right, the swans are a joy to watch, capably led with noble warmth by Lead Swans Valerie Tereshchenko and Rina Nemoto. The disciplined cohesion of the corps means that the swans are constantly seen to breathe as one. 

Rather than a harsh older man, Jarryd Madden plays von Rothbart as a sleek and glossy villain, his vanity and cruelty bringing to mind a young Valmont from Dangerous Liaisons. 

As a misplaced court jester, Marcus Morelli leaves the audience wanting more, his frisky acrobatics a cheeky delight. Guest artist Rachel Rawlins is a serene presence as the Queen Mother.

With the Melbourne season basically sold out before opening night, affection for Swan Lake clearly remains strong. The elegant new production showcases the high quality of dance to excellent effect, continuing the love for this celebrated ballet for further generations to come.

Swan Lake plays at State Theatre, Arts Centre Melbourne until 30 September. For possible ticket availability during the season, click here. 

Swan Lake plays at Festival Theatre, Adelaide Festival Centre 7-14 October 2023. For tickets, click here. 

Swan Lake plays at Lyric Theatre, Queensland Performing Arts Centre 24-28 October 2023. For tickets, click here. 

Swan Lake plays at Joan Sutherland Theatre, Sydney Opera House 1 – 20 December 2023. For tickets, click here. 

Swan Lake will play as a livestream (available up to 14 days after the event) on Friday 29 September 2023. To purchase access to the livestream, click here. 

Casting for Swan Lake can be read online. 

Photos: Kate Longley

A fittingly grand production for the final season at the State Theatre before its three-year renovation, Alice’s Adventures in Wonderland makes a welcome return, sparkling anew with a fresh cast of dancers taking in the myriad quirky characterful roles.

Originating at Royal Ballet in 2011, Christopher Wheeldon’s fantastical work is expertly designed to surprise and delight. This third local season is a chance to appreciate the finer details of Wheeldon’s witty, wondrous work. A cornucopia of characters populate the idyllic opening scene, each foreshadowing the quirky role they are to become in Wonderland. There are subtle recurring themes to the choreography, including pointing, running, and ticking clock hands. 

From a scenario by Nicholas Wright, Wheeldon has worked in close collaboration with his accomplished designers to craft a sequence of loosely connected vignettes, each sweetly absurd and delightfully whimsical. The threads converge for the courtroom house-of-cards climax, each character completely recognisable thanks to distinctive design and sterling performances. 

The Duchess’ pepper and pig-laden kitchen may be the darkest sequence. This is later offset by a gorgeous waltz of the flowers, which features a charmingly playful pas de deux for Alice and her Knave of Hearts. This is contrasted again by the sharp black, white, and red precision of the massed ensemble deck of cards.

Subtly melodious, composer Joby Talbot’s neatly cohesive score is eminently danceable and yet also conveys the sense of an atmospheric film score, conjuring tingling suspense, wondrous magic, and festive ceremony. Maestro Jonathan Lo conducts the redoubtable Orchestra Victoria in a suitably splendiferous performance, expressively bringing out all manner of colourful highlights. 

Bob Crowley’s ingenious designs boldly fill the space, flowing from moment to moment to capture the dreamlike story. Design is calibrated to allow the spectacle to ramp up, culminating in a vivid royal garden and full scale house of cards courtroom.

The combination of Crowley’s scenic designs and costumes, Natasha Katz’s lighting, Toby Olié’s puppets, and Gemma Carrington and Jon Driscoll’s projections is such that the stage picture is never the same for more than a few short minutes. By the end of the first of three acts, more design elements have passed by than might usually be seen in a full length ballet.

Olié’s puppets are a standout of the design, cleverly crafted and confidently manipulated, largely by the dancers. A Victorian illustration come to life, the sweetly grinning Cheshire Cat floats and reassembles in mystical style. Alarmed at being used as croquet mallets, pink flamingo puppets take on a life of their own. A combined costume and puppet highlight comes at the appearance of the full body of the caterpillar: delicate legs en pointe sport diamanté-encrusted pointe shoes. 

Lovely in lilac, Benedicte Bemet takes on the role she was born to play as wide-eyed ingenue Alice. Given the spectacle of the production, the depth of Bemet’s talent is shown when she dances on stage alone, holding some 2000 audience members in as much awe as any massed ensemble sequence or special scenic effect. Bemet expertly brings to life all that Wheeldon gives Alice to play out through dance, from shrinking to growing to crying a river of tears. Of these moments, Bemet’s amusing portrayal of the psychotropic effect of the Caterpillar’s piece of mushroom is particularly delightful. 

Joseph Caley brings a suitably boyish energy to Alice’s partner Jack, the pair beaming radiantly in each of their gently adorable pas de deux. 

Beginning as the forbidding Mother, Robyn Hendricks commands with imperious flair as the vainglorious Queen of Hearts. Act three brings a fabulous pastiche of The Sleeping Beauty’s “Rose Adagio,” performed with wickedly hilarious precision by Hendricks. Special mention of the very game Tart Suitors, Saranja Crowe, Jeremy Hargreaves, Mason Lovegrove, and Misha Barkidjija. 

Perennially boyish principal artist Chengwu Guo is characteristically nimble and pillowy light as the frisky, if fretful, White Rabbit. 

Quality casting continues through numerous featured roles. Legend Stephen Heathcote reprises his role as the hen-pecked King of Hearts.

In the crowd-pleasing role of the Mad Hatter, George-Murray Nightingale delivers crisp, complex tap steps. Nathan Brook is hypnotically sinuous as The Caterpillar. Ben Davis brings a delectable campness to the full blooded Duchess.

Larissa Kiyoto-Ward loses herself in the maniacal, cleaver-wielding role of the Cook. Timothy Coleman beams with loveable fluffiness as the March Hare. Drew Hedditch (Fish) and Yichuan Wang (Frog) imbue their dance with abundant characterful flair. 

As lavish as many a Broadway musical, Alice’s Adventures in Wonderland is guaranteed to astonish young audiences and reward return visitors with fresh delights.

Alice’s Adventures in Wonderland plays at State Theatre, Arts Centre Melbourne until 26 March 2024. For tickets, click here. 

The Alice’s Adventures in Wonderland cast list can be read online.

Footnotes:

Warmly received by the opening night audience, artistic director David Hallberg noted the occasion of the final opening night before the three-year closure of the State Theatre, passing on to the audience the promise he has been given that the beloved curtain will remain. 

While this production has already played Sydney, it is worth a quick note that this is the first time that Heathcote and his daughter Mia Heathcote have shared the stage as adult members of The Australian Ballet in their home town of Melbourne. Mia Heathcote transferred from Queensland Ballet at the beginning of 2024.

Befitting the colourful production, Alice’s Adventures in Wonderland skips the recent compact, matte program style, furnishing a large, glossy musical theatre-style souvenir program. 

Photos: Christopher Rodgers Wilson