A towering artistic achievement, the world premiere of eagerly anticipated Christopher Wheeldon work Oscar© elevates The Australian Ballet to the envy of the international stage.

This dazzling premiere not only unveils Wheeldon’s compelling new work, it also firmly establishes The Australian Ballet in their temporary ome at the mighty Regent Theatre. Rather than a makeshift compromise, the visual and aural spectacle on show here indicate that the next three years will allow the company to retain its full Melbourne glory. 

Welcoming the audience to the ballet’s new Melbourne venue, artistic director David Hallberg introduced Oscar© as an indicator of the company’s commitment to proudly presenting diverse and inclusive work. 

Marketed as the first gay-themed full-length ballet in the classical repertoire, the narrative of Oscar© has been created by choreographer Wheeldon and composer Joby Talbot (based on an original idea by Wheeldon and Alexander Wise). With very sparing use of a narrator (Seán O’Shea) to set the scene, the ballet is bookended by Oscar Wilde’s trials and imprisonment and his eventual release. 

Each act of the ballet blends Wilde’s reminiscences in gaol with one of his written works. Act one shifts between Wilde reading The Nightingale and the Rose with his wife and sons to his immersion in London society, later meeting lover and friend Robbie Ross.

Further into Wilde’s incarceration, act two merges The Picture of Dorian Gray with Wilde’s steamy relationship with Lord Alfred Douglas, known as Bosie, and their precariously thrilling journey through the London underworld. 

Working at the height of his sophisticated, visionary powers, Wheeldon crafts something of a structured fantasia, a dazzling mix of perfectly balanced abstract and traditional storytelling. While pre-reading of the synopsis is recommended to comfortably follow the action, the ballet nonetheless unfolds like a heady dream that can be enjoyed in its own right simply for its elegance and beauty.

Most significantly, Wheeldon and Talbot imbue Oscar© with searing humanity, artfully conveying the indelible message that the cruelty suffered by Wilde, and indeed all people persecuted because of differences to mainstream society, should not be allowed to occur. 

The ideal work to demonstrate the depth of talent in The Australian Ballet at this point in Hallberg’s tenure as artistic director, the cast sheet for Oscar© features some twenty characters, a great many of which have featured dance sequences. The men are well served, with Wilde joined by Robbie, Bosie, Oscar’s shadow, Oscar’s sons, Dorian, and more, including a fabulous pair of Music Hall “dames.” In balance, plum female roles include wife Constance Wilde, famed actresses Sarah Bernhardt, Lillie Langtry, and Ellen Terry, Sybil Vane, and the truly lovely role of the Nightingale. 

Wheeldon deftly shifts from intimate moments to spirited ensemble dances, the latter varying wildly from adorable birds to intemperate society types to hedonistic nightclub goers. In a playful pas de troi, Wilde and Robbie interact daringly when Constance’s back is turned. Wilde often dances with his Shadow, finding in his shadow a spirit that is not held in by bars. Wilde and Bosie perform an exquisite pas de deux, soulfully expressing their passion through dance. 

One further choreographic highlight is the show stopping act one Musical Hall duo, danced delightfully on opening night by Marcus Morelli and Cameron Holmes.

Designer Jean-Marc Puissant appears to have enjoyed a lavish budget. While the setting is on a grand scale, the majority of the budget may well have been spent on the rather stunning costumes. Oscar© begins at the Old Bailey, and this structure remains on stage with additional set pieces fluidly moving in and out. In a clever touch, the ceiling itself lowers to indicate when Wilde finds himself in the seamy underworld. 

Lighting designer Mark Henderson draws the eye into intimate moments and then back out to the full stage, also making attractive use of glowing lighting embedded in the sets. The visual picture is completed by judicious use of the video design of David Bergman, which often bathes the stage in handwriting, reflecting the prolific and treasured output of Wilde. 

Over and above the dance and design, the musical performance by Orchestra Victoria is a commanding attraction in its own right. Those familiar with Alice’s Adventures in Wonderland will be well aware that this music is by the same composer. Talbot delivers a lush dreamscape of gorgeous music that is wonderfully accessible and enjoyable at first listen. Making use of the full orchestra, Talbot has a particular focus on percussion, giving his music an ongoing drive and infectious rhythm. 

With Orchestra Victoria in front of the stage, the music is free to soar in the vast space and it sounds superb. Free from the partial amplification needed at the State Theatre, the music reverberates through the theatre with power all of its own. Maestro Jonathan Lo leads a highly confident premiere performance, bringing out abundant colour and richness in the score.

On opening night of Oscar©, Callum Linnane left every ounce of his being on the stage, portraying a compelling journey through superb dance and expert characterisation. Linnane enjoyed tangible chemistry with every partner, from Wilde’s wife to lovers to actresses he idolised. 

Joseph Caley brought a mix of daring and devotion to Robbie Ross. Benjamin Garrett brought delicate male beauty through dance first to the Student (in The Nightingale and The Rose) then to Bosie. In another fascinating dual role, Adam Elmes lost himself as Oscar’s Shadow before coming to the fore as the recklessly vain Dorian Gray. 

Ako Kondo soared as the dear Nightingale, bringing the tragic role to life with finely honed artistry and flair. Sharni Spencer brought a noble, knowing countenance to Constance Wilde. Each seen in a heightened stage performance attended by Wilde, Benedicte Bemet (Bernhardt), Mia Heathcote (Langtry) and Jill Ogai (Terry) each capitalised grandly and distinctively on their moment in the spotlight.

Sure to be in high international demand, Oscar© is a treat to be devoured by Melbourne audiences. 

Oscar© plays at Regent Theatre, Melbourne until 24 September 2024. For tickets click here. 

Oscar© plays at Joan Sutherland Theatre, Sydney Opera House 8-23 November 2024. For tickets click here. 

The Oscar© cast sheet can be read online.

Photos: Chris Rodgers-Wilson (#1, #3), Con Chronis (#2, #4, #5)

Diametrically different, the paired works of The Australian Ballet double bill Études / Circle Electric are comparable in scale yet worlds apart in choreographic vocabulary, providing the broadest possible spectrum of dance in one program.

Despite the indications of the title, it is Circle Electric that plays first. Newly appointed Resident Choreographer Stephanie Lake capitalises upon the extensive resources of The Australian Ballet in her first full-length commission for the company. 

First presented on tour in 2023 and 2024 as a 15-minute version with only six dancers, Circle Electric (in a form now known as Circle Electric: Prologue) worked very effectively as an exciting taste of modern dance blended with futuristic staging and electronic music. 

Expanded to more than sixty minutes and now featuring a whopping fifty dancers, Circle Electric suffers heavily from the law of diminishing returns. A work more to be admired than enjoyed, the scope of Lake’s choreographic vision is impressive and yet the disconnected series of items leaves little more than a transient visual impact. 

Drawing exclusively from the realm of modern dance without a trace of classical influence, Lake’s work benefits mightily from the finely honed skills of 50 dancers across all ranks of The Australian Ballet. While no dancers are specifically featured, there are fleeting moments where individual gifts can be observed and appreciated. 

Composer Robin Fox matches the completely modern dance vernacular with a series of clanging chords and tensely suspended long notes. In a key musical sequence, a pair of percussionists joins the dancers on stage, creating resounding rhythm with flair. While conductor Joel Bass successfully stretches Orchestra Victoria to play the modern stylings, it is an insult to the musicians to have to spend so much of the piece sitting in pitch black while pre-recorded music crackles out. 

Working in close collaboration, set designer Charles Davis and lighting designer Bosco Shaw craft an ever evolving stage picture that has moments of magic. The most thrilling of these is when the massive glowing circular set piece lifts and a sole male dancer appears to be floating inside. Focus remains on the massed choreography and physical staging with costume designer Paula Levis supplying a dynamic spectrum of nude and earth tones that are individualistic yet blend smoothly to a warmly cohesive whole.

After a long interval, the program makes a quantum leap to the world of classical ballet in its purest form with the dreamy elegance of Études. 

The most famous work of Danish choreographer Harald Lander, Études (1948) unfolds gently as an abstract trajectory of dancers’ careers. From exercises at the barre, to floor exercises, to first recitals and onward, a corps of 36 dancers works with astounding precision to support the dazzling featured work of three principal artists. 

On opening night, Ako Kondo was every inch the balletic princess, glittering tiara and all, drawing upon all her gifts to convey a broader sense of character and story in each of the snippets of scenes. Joseph Caley danced with delightful blend of grace and sheer athleticism. Chengwu Guo executed trademark pillowy leaps and extraordinarily nimble speed. 

Helmed by conductor Jonathan Lo, Orchestra Victoria performs the playful score of Knudåge Riisager (after Carl Czerny) with merry abandon. If a little heavy on the brass, the musical performance is a fittingly whimsical complement to the light hearted yet utterly luxuriant dancing on stage. 

A tremendous showcase for the breadth of talent in The Australian Ballet, the double of Études / Circle Electric would surely have benefitted from a shorted version of Circle Electric with a third work added for further variety. Nonetheless, the program showcases dance performed at the highest standard. 

Études / Circle Electric plays at Regent Theatre, Melbourne until 9 October 2024. For tickets, click here.

The Études / Circle Electric cast list can be read online. 

Photos: Daniel Boud

A towering work in which John Neumeier celebrates not just the great dancer choreographer but also ballet itself, electrifying adult fantasia Nijinsky makes a very welcome return to the Melbourne stage.

A year after the world premiere of Oscar, Nijinsky proves an excellent companion piece, both works unfolding dreamlike memories for a distinctly adult audience whose sophistication sits well above traditional storybook ballets. Intricately crafted with myriad interwoven layers, the work more than stands up to repeated viewings, with audience members sure to uncover new elements each time.

Beginning with an open curtain, the stage slowly comes to life as guests gather at Suvretta House Hotel in St Moritz, Switzerland in January 2019 for a solo performance from the great Vaslav Nijinsky. Nijinsky’s final public appearance begins as it would have that day, with onlookers unsure whether to gasp or applaud. In short measure, the realistic set dissolves away and Nijinsky loses himself in a surreal cavalcade of life and stage memories. 

A theatrical auteur at the height of his powers, Neumeier not only conceived and choreographed Nijinsky, but also designed the set, costumes, and lighting. The work can be appreciated simply for its sheer beauty and entertainment value, with the darker psychological elements adding intriguing and affecting depth. 

The solid, completely realistic setting for Suvretta House gives way to simple, abstract scenic elements reflecting staging for Nijinsky’s original works. Amidst visions of Nijinsky’s iconic roles such as Harlequin, the Faun, and Petruschka, Nijinsky’s tempestuous relationships unfurl. 

Sister Bronislava and brother Stanislav, both dancers, weave through the recollections, leading to the searing tragedy of Stanislav’s death in World War I. Enjoying a sexual relationship with Sergei Diaghilev of the Ballet Russes, Nijinsky is pursued by Romola de Pulsky, seen here as a slinkily seductive figure in scarlet. Nijinsky’s marriage to Romola sees him spurned by Diaghilev and cast out from the Ballet Russes. 

Maestro Jonathan Lo leads a magnificent performance from Orchestra Victoria, the music sounding richly warm and vibrant in the Regent Theatre. The orchestra dextrously performs a seamlessly blended score featuring the music of Chopin, Schumann, Rimsky-Korsakov, and Shostakovich, Shostakovich’s Symphony No. 11 in G minor plays out in full through act two. Dynamics are a clear feature of the musical performance, shifting from incredibly delicate strains to crashing climaxes. 

Principal artist Callum Linnane returns to the title role to lead the opening cast in a truly thrilling performance. Linnane can surely be said to have left himself on the stage, tirelessly dancing the epic role in a range of styles and compellingly projecting a swirling multitude of emotions. From his first entrance, Linnane displays power in stillness, later representing mental anguish through physical distortion, deftly returning to nimble youthfulness when Nijinsky recollects his early work. 

Maxim Zenin elegantly dances Sergei Diaghilev with sharp, rigid precision, clearly conveying the imperiousness of the lustful titan. 

Grace Carroll brings beautiful humanity to Romola Nijinska, displaying her unwavering devotion to Vaslav with sinuous elegance. The extended duet between husband and wife is at the heart of act two, providing a clear highlight for the ballet. 

A second powerful highlight of act two comes with the stunning work of Elijah Trevitt, who effectively dances the wartime death of Stanislav. 

Jill Ogai takes Bronislava on a stirring arc from dancer to choreographer, the character also affected by the death of her brother, if not as dramatically as Vaslav with his fragile mental health. Ako Kondo is reliably the picture of graceful elegance in the featured role of The Ballerina. 

A trio of top talents recreate key roles remembered by Nijinsky, each impressively marrying their style to that of Linnane himself, dancing in perfect synchronicity with him when required. 

Marcus Morelli is a lively Harlequin before bringing a distinct masculine edge to the pale pink costume for The Spectre of the Rose.  

Jake Mangakahia shines in a pair of featured roles, sharing a charming duet with The Ballerina as the Golden Slave, later thrilling in a terrific trio as the Faun dances with Romola and Nijinsky. 

Brodie James skilfully flips from the comical playfulness of Petruschka to the touching melancholy of the sad clown. 

Casting for Nijinsky calls upon a huge contingent of the company, the stage full to overflowing for the final curtain call. Just the fact that Neumeier permits the work to be performed by The Australian Ballet is a compliment to the company, the immaculate standard of the dance and music more than living up to his well-placed faith. 

As with the 2016 Australian premiere performance, this opening night was created by an instant rousing standing ovation. Enjoying pristine staging and superb performances, Nijinsky is sure to thrill and reward audiences again in 2025.

Nijinsky plays at Regent Theatre, Melbourne until 1 March 2025. For tickets, click here.

Nijinsky plays at Joan Sutherland Theatre, Sydney Opera House from 4 April 2025. For tickets, click here.

The Nijinsky cast list can be read online. 

Man in Chair attended Nijinsky as the guest of a Melbourne arts patron.

Photos: Kate Longley

Strikingly modern and darkly psychological, John Inger’s Carmen delivers an exhilarating showcase for the sharply focused talents of The Australian Ballet.

Premiering in 2015, Inger’s Carmen connects back to 1967 one-act ballet Carmen Suite by choreographer Alberto Alonso. Composer Rodion Shchedrin arranged Bizet’s revered opera score for a deliberately truncated orchestra of strings and percussion. 

Created for a tight ensemble cast, Inger’s Carmen brings dance squarely to the fore, staged with just a simple set of mobile three-sided pillars. Ever associated with Spain, and premiering at Compaňia Nacional de Danza Madrid, this Carmen nonetheless has a neutral and timeless setting. The breathlessly brisk storytelling is perfectly clear and yet can still be said to benefit from the audience’s existing knowledge of Carmen the opera. 

A young child, known simply as Boy, observes the action, their youthful innocence gradually eroded by the observation of toxic male adult behaviour. The fabulous free spirit of Carmen sees her furtively slip away with officer Zúñiga, exuberantly cavort with rockstar Torero, and devilishly seduce arresting officer Don José. Recklessly spurned, José spirals into murderous jealousy and anger, leading to the ultimate tragedy. 

In the more abstract second act, the prominence of an ominous figure in black expands, with the male and female corps donning the black suit and mask to create a veritable army of haunting spirits. Much as the sight of black figures rolling across the stage is a disconcerting effect, it feels overused here, taking the place of actual dance for the corps in act two. 

Fine chains hang downstage in act two, creating a delicate prison-like vision, with the pathologically jealous Don José trapped with his torment. In a powerful sequence, Don José freezes just as he is about to strike Carmen, and the trio of José, Carmen, and the Boy dance a magical dream of the blissful life they are destined never to enjoy. 

The choreographed love language of Carmen and Torero is one of playful passionate lust. With Torero, Carmen would clearly have been happy if not for the fevered pursuit from Don José. As in the opera, the story ends with the senselessly tragic murder of Carmen, which leaves Don José deservedly hollow and broken.

Considered modern at the time, Shchedrin’s score is further updated with additional music by Marc Álvarez. The accompaniment flips back and forth between live performance of the original music and recordings of the newly composed sections. Much as conductor Joel Bass does an excellent job in seamlessly blending the two, it must be noted that the use of pre-recorded music seems a waste of the renowned talents of Orchestra Victoria, if not an outright insult to the fine musicians who sit and wait for their next time to play. 

The live components are a clear highlight of the music, with Bass expertly bringing out the fiery passion inherent in the score. Special mention of the fabulous contributions from a generous contingent of percussion players. 

Costume designer David Delfin delivers sleek lines that bring out the sharp, crisp angles of Inger’s choreography. Carmen’s dress is, of course, blazing red, with modern short ruffled skirt. Supporting Inger’s vision for the dark undercurrents at play, Delfin creates black unisex suits with full mask for the ensemble in act two. 

Memorably crafting her most significant lead role to date, principal artist Jill Ogai sets off sparks with no less than three leading men, also heading a corps of female dancers in thrillingly synchronised routines. Ogai flips effortlessly from sultry spitfire to playful doll, commanding audience attention in her every stage moment.

Further exemplifying his extraordinary range, Callum Linnane stars as Don José less than a week after his triumph as Nijinsky. Linnane takes José on a wild ride, beginning as an upright officer, melting into a willing lover, then descending into a driven stalker. Linnane particularly shines in the all too brief dream sequence in act two, when José imagines a far happier, less complicated life; Linnane’s whole physicality radiates a shimmering joy, the loss of which is keenly felt. 

Marcus Morelli elevates the featured role of Torero, his thrilling, muscular performance electrifying the stage and leaving the audience wanting more.

Brett Chynoweth brings an authoritative military exactitude to Zúñiga, neatly adding a devilish sparkle to the man’s eye when his head is turned by Carmen. 

In a carefully calibrated performance, Lilla Harvey transcends the relative simplicity of the role of Boy, palpably imbuing her performance with an affecting emotional arc. 

Aficionados of pure classical style may wish to wait until October for Manon, but adventurous lovers of modern dance will surely thrill to the provocative allure of Carmen. 

Carmen plays at Regent Theatre, Melbourne until 18 March 2025. For tickets, click here.

Carmen plays at Canberra Theatre Centre, 20-25 June 2025. For tickets, click here.

Man in Chair attended Carmen as a guest of a Melbourne Arts patron.

Photos: #1, #5 Kate Longley, #2, #3, #4, #6 Daniel Boud