Natasha Kusen and Andrew Killian in a study for Petite Mort. The Australian Ballet 2014. Photo Paul Scala

‘Chroma’, ‘Art to Sky’, ‘Petite Mort’ & ‘Sechs Tänze’. The Australian Ballet

10 May 2014 (matinee), Joan Sutherland Theatre, Sydney Opera House

What an inspiring performance the Australian Ballet gave of Wayne McGregor’s Chroma. Not an easy ballet to bring off, but all the diverse features that make McGregor’s choreography so eminently watchable were there. Limbs extending through space, off-centre partnering, moves that were in turn twisted, contorted, angular and sometimes smooth and undulating. And all were all set cleanly and articulately against John Pawson’s stripped back, white box space with its rectangular ‘window’ of changing colours. McGregor is a master at exploiting the balletic body to produce astonishingly shaped movements—movements of the twenty-first century perhaps? What I especially like is that his choreography make us see how perfectly amazing the balletic vocabulary can be.

I particularly admired Vivienne Wong’s performance throughout the work and also a powerful trio from Brett Chynoweth, Rudy Hawkes and Andrew Killian—fast, assertive dancing from them all. But it was a duet from Lana Jones and Daniel Gaudiello that stole the show for me. McGregor’s choreography suits Jones with her strong, unassailable technique and Gaudiello has such a way of adding his own signature to everything he does while still remaining true to the intentions of the choreographer.

Artists of the Australian Ballet in 'Chroma', 2014. courtesy the Australian Ballet

Artists of the Australian Ballet in Wayne McGregor’s Chroma, 2014. Photo courtesy of the Australian Ballet

Stephen Baynes’ new work, Art to Sky, began with some lovely, lingering choreography, beautifully performed by Leanne Stojmenov and Gaudiello again. It was romantic, softly falling from step to step. The corps de ballet also had some memorable choreography in the opening sections, surprising at times and always pure and fresh. But after that there were a few too many somersaults, cartwheels and legs in the air, not to mention twee sections of humour that didn’t quite work. It is a little problematic too that one of George Balanchine’s most exquisite ballets (in my mind anyway) is Mozartiana danced to the same music, Tchaikovsky’s Mozartiana, that Baynes chose for Art to Sky. Balanchine has a habit of lingering in the mind, making it hard to accept anything else to the music he uses.

Hugh Colman’s shadowy, upstage portal that comprised the set, lit by Rachel Burke to give a hint of the mysterious, were strong additions to the look of Art to Sky. Colman, Burke and Baynes work well together as collaborators and bring a sense of visual cohesion to each other’s work.

The program concluded with Jiri Kylian’s companion pieces, Petite Mort and Sechs Tänze and it was a treat to see some more Kylian back onstage with the Australian Ballet. It was interesting to have Kylian on the same program as McGregor, as also happened last year with Bella Figura and Dyad. Kylian, too, pushes the dance vocabulary and gives us a surprising array of movement, but he adds a degree of humanity and humour to his works that McGregor passes over (at least in Chroma, although perhaps not to the same extent in others of his works).

This mixed bill was a relief from the full-length ballets that we are told draw the best houses. To me the house looked pretty much full  for what was a diverse and well danced program. I’d like more in this vein.

Michelle Potter, 11 May 2014

Featured image: Natasha Kusen and Andrew Killian in a study for Petite Mort. The Australian Ballet 2014. Photo: © Paul Scala

‘Don Quixote’. The Australian Ballet

13 April 2013 (matinee), Joan Sutherland Theatre, Sydney Opera House

My single viewing of the Australian Ballet’s current production of Don Quixote was entertaining, if not theatrically thrilling.

I enjoyed seeing Reiko Hombo and Yosvani Ramos in the leading roles of Kitri and Basilio. The male jota-style variation in Act I suited Ramos beautifully and showed off his neat footwork and the lightness of his jump. His portrayal of Basilio worked really well in Act III when his ‘death’ scene captured a certain craziness and was quite hilarious. But I missed a sense of passion in his encounters with Kitri.

Hombo performed nicely and her technical execution was precise and clear. But again I missed the fiery quality I associate with Kitri and I felt the consequent lack of a strong emotional connection or a sense of physical repartee with Basilio.

What I really liked about the production was the characterisation of the Don, played by Steven Heathcote; Sancho Panza, the Don’s squire played by Frank Leo; and the wealthy Gamache, played by Matthew Donnelly. At last here was an approach that didn’t seem to think that over-the-top behaviour was necessary in these kinds of roles. All were still strong individuals demanding of our attention and thoughts but without the ridiculous pantomime elements that for me went out of fashion years ago.

Amongst the corps and soloists I admired Brett Chynoweth as one of the leading townsfolk, Dana Stephensen as one of Kitri’s friends and Eloise Fryer as Amour. Both Stephensen and Fryer looked wonderful onstage. They were technically assured and dancing as if they loved it. No Don could have resisted Fryer’s arrows! Chynoweth was full on into the action at every moment.

It’s a hard act, still, to follow in the footsteps of Rudolf Nureyev and Lucette Aldous and the cast that made up the first Australian Ballet production way back in the 1970s. But some have followed on brilliantly since then, and maybe some casts that I didn’t see in this season did in fact inject some of the fiery and passionate give and take that makes this ballet a bit more than just interesting entertainment. The subscriber I sat next to yesterday was singing the praises of Lana Jones and Daniel Gaudiello.

And for those who weren’t even born in the 1970s that first Don Q is still available on DVD as a digitally remastered version of the original film.

Lana Jones and Daniel Gaudiello, 'Don Quixote'. Photo: Georges AntoniLana Jones and Daniel Gaudiello in a publicity shot for Don Quixote, 2012. Photo: Georges Antoni. Courtesy the Australian Ballet

Michelle Potter, 14 April 2013

‘Icons’. The Australian Ballet

30 August 2012, State Theatre, Victorian Arts Centre, Melbourne

The Australian Ballet’s Icons program is a truly exciting triple bill. Every work has particular interest historically and, while one really doesn’t measure up, two of the three are thrilling to watch. The absolute standout in terms of dancing is the middle work on the program, Gemini, Glen Tetley’s work made on the Australian Ballet in 1973. It was danced on opening night by Lana Jones, Amber Scott, Adam Bull and Rudy Hawkes, with Jones in particular performing as if there were no tomorrow.

Lana Jones, Rudy Hawkes, Adam Bull and Amber Scott in 'Gemini', 2012 Photo: Jeff BusbyLana Jones and Rudy Hawkes (rear) and Adam Bull and Amber Scott (foreground) in Gemini. The Australian Ballet, 2012. Photo: Jeff Busby

Against a modernist set of coloured horizontal slats by Nadine Baylis, Gemini unfolds as a series duets and solos embodying powerful, dynamic movement. Of the women, Jones is cool but bold, assertive, a powerhouse of energy. Her manège of grands jetés with arms stretched heavenwards in an open fifth position (à la Isadora in La Marseillaise) was breathtaking. Scott is more elusive, sinuous and deliciously sensuous. Of the men, Bull had that little extra movement in the chest and pelvis—in the torso I guess—that drew the eye towards him whenever the men were onstage. Hawkes’ performance lacked the same zing but was nevertheless a pleasure to watch. When Tetley was in Australia in 2003 to stage Voluntaries he told me that creating Gemini had made him love the energy of Australian dancers. I think he would have been thrilled with the electrifying way in which Jones, Scott, Bull and Hawkes performed.

Closing the evening was Graeme Murphy’s evocative Beyond Twelve, a work first shown in 1980 and a real bottler of an Australian ballet showing all Murphy’s theatricality, humour and unique choreographic hand. Beyond Twelve tells the story of a boy’s transition from football-playing youth to adolescent dancer and finally on to mature artist facing the uncertainties of life beyond dance. Brett Chynoweth, Calvin Hannaford and Andrew Killian took the three main male roles of Beyond Twelve, Beyond Eighteen and Beyond Thirty and their trio in which we see their lives intertwining was a real highlight. Showing the passage of time in a choreographic sense is one of Murphy’s great strengths and this trio is no exception. Brooke Lockett, a coryphée with the company, danced the role of First Love and played it with just the right feeling of delight in the pleasures of youth.

Beyond Twelve is an immensely moving work (as well as being full of wit and humour) and nothing captures that feeling more than when, as the ballet closes, we see the mature dancer joined momentarily by his first love. And just as it looks like they will remain together, a figure in evening dress appears in the background and the girl moves away to join the other man, her Escort. Murphy’s sense of theatricality is brilliant here, partly in his placement of the three characters on the stage, but also in the instant realisation the moment generates that life is full of changes.

Despite its historical interest, the big disappointment of the evening was The Display, Robert Helpmann’s 1964 production based on his and Katharine Hepburn’s sighting of the mating dance of the lyrebird. The Display opened the program and perhaps it was inevitable that a work so entrenched in Australian culture of the 1960s would never translate well into the twenty-first century. But I didn’t think it would be quite so problematic. Nothing to me looked like an Australian picnic in the bush. The girls, so pretty with their Renoir hairstyles and pink dresses, could have been peasants in Giselle—and incidentally, Sidney Nolan, whose designs were ‘refurbished’ for the occasion, wanted the girls’ dresses to be the colour of ‘dog biscuits’, which certainly wasn’t the case with this production. In addition, the boys looked like princes as they pointed their feet, stretched their legs, and stayed so thoroughly within their classical ballet heritage. I’m not sure that, when playing footy, drinking beer and punching people up, men look like that.

Kevin Jackson as the Outsider missed the point, I think, that this character was meant to be so culturally different from the rest of the men. A red shirt and blue trousers aren’t enough to show that he was meant to be an Italian in Australia in the 1960s, a time of significant European migration. Australians had scarcely heard of coffee then let alone of European attitudes to women. The role needs a different physicality as well as costume to get the point across and Jackson didn’t seem to me to be much different from the rest of the men. But then perhaps that was a result of the other men behaving as if they were dancing a nineteenth-century ballet.

The saving grace was Madeleine Eastoe as the Female. She made Helpmann’s choreography look quite respectable despite a series of fouettés that Helpmann suddenly dropped into it all for no apparent reason. And she managed to get across the sense of sexual arousal that needs to be apparent as, at the conclusion of the ballet, the Outsider leaves her after his attempted rape and the Male (the lyrebird) comes forward to cover her with his tail feathers.

It was interesting to see Barry Kitcher, Bryan Lawrence and Garth Welch from the 1964 cast of Display come onstage to take a bow during the curtain calls. They were joined by Julie da Costa who danced the Female in a later 1980s production. There was no note in the program to say that they had been involved in coaching the dancers. The Display certainly needed some good coaching to make it work.

Musically the program was extraordinarily diverse. Malcolm Williamson’s score for The Display remains as beautiful as ever with its quivering, bush sounds, and was perhaps the highlight of that ballet on this occasion; Tetley’s choice of Hans Werne Henze’s Symphony No. 3 for Gemini was inspired with music and choreography so well attuned; and Maurice Ravel’s Piano Concerto in G major, whose movements had been reordered by Murphy to fit the storyline of Beyond Twelve, was played with customary elegance by Stuart Macklin.

Despite The Display having major problems, I thought this was a good triple bill. In my mind it sits within the spirit of the best of triple bills where there is a bit of everything, including the ‘serious’ work in the middle and the ‘feel good’ work to go home with.

Michelle Potter, 1 September 2012

Featured image: Lana Jones in Gemini. The Australian Ballet, 2012. Photo: © Jeff Busby

Postscript: Looking back at a review of Beyond Twelve that I wrote for Dance Australia way back in 1994 (with David McAllister, Steven Woodgate, Greg Horsman and Vicki Attard in the leading roles), I mentioned that Horsman danced the role of Beyond Twenty-Five, rather than calling it Beyond Thirty. I’m not sure when the name change happened, but it is interesting to speculate that times have changed in (almost) twenty years and perhaps thirty is now the new twenty-five? Unless I got it wrong in 1994?

Update: Here are my comments after another look at the program in Sydney.