Exciting news for Hannah O’Neill and her many fans around the world. O’Neill has just performed brilliantly in the annual Paris Opera Ballet concours and has been promoted to coryphée. This is an astonishing achievement given that she was accepted into the company as a life member only three months ago.
For an interesting article on the concours by Roslyn Sulcas writing in The New York Times in 2009 follow this link.
Hannah O’Neill, Paris, May 2012
While I negotiate a more relevant image, here is one I shot by the Pont neuf in Paris in 2012 during the recording of an interview for the Heath Ledger Project.
Triple bill programs can be mixed experiences. The Paris Opera Ballet’s recent program, with works by Saburo Teshigawara, Trisha Brown and Jiří Kylián, was a case in point: three choreographers from three very different backgrounds dealing in very different ways with the seen and the unseen, the known and the unknown, the spaces in which dance takes place.
The newly created work, Darkness is hiding black horses, by Japanese choreographer Teshigawara opened the program. Made for just three dancers, a female and two males, it was the most difficult to make sense of as it appeared to have no choreographic structure beyond a quite simple floor pattern of straight lines of movement. The dancers very rarely interacted with each other and the movement itself also seemed to have no obvious structure with the dancers moving in a kind of slinky, bendy fashion as if collapsing into and around themselves. An interview with Teshigawara in the printed program noted that the choreographer was interested in surrealism and the act of automatic writing as favoured by some artists of Dadaist bent. Darkness looked a little like a form of automatic choreography.
To tell the truth I have no idea what the work was meant to be about although publicity kept using words like black, obscurity and the like. It was performed in a kind of black box space and little puffs of smoke kept escaping into the air from jets on the floor of the stage. It was mystifying and I think presumptuous. And as for the black horses…?
Trisha Brown’s Glacial Decoy, a work she made in 1979, was welcome relief. Its exploration of the space beyond centre stage, including wing space, was lively and playful and her beautifully exuberant use of dancers picking up phrases from one another was a delight. Robert Rauschenberg’s background projections of his own black and white photographs, mostly of assorted suburban and industrial subjects, seemed to echo the choreography as they slipped across the stage from left to right in groups of four with the far right image constantly disappearing and being replaced by another on the far left.
The dancers of the Paris Opera Ballet handled Brown’s loose limbed, swinging movement and idiosyncratic gestures with style although with perhaps a little too much classicism, a feature of the performance that was more noticeable than it might have been given that Brown’s New York company was performing its own program concurrently at the Théâtre de la Ville.
But it was Jiří Kylián’s exquisite Doux mensonges that was the highlight of the evening. It is a beautifully coherent combination of dance (for four dancers only), film (shot under the stage of the Palais Garnier), song (from the group Les Arts florissants), lighting (Michael Simon) and a fabulous, hanging pinky-orange cloud-like structure that turns, folds and unfolds slowly to display varying facets of its composition (also by Michael Simon).
Doux mensonges was created in 1999 for the Paris Opera Ballet and its title might be translated as Sweet lies, although I prefer Sweet deceits. Kylián has explained that his inspiration for the piece is the duality of our personal world, the world that we show to others and allow them to share and the world that we prefer to keep hidden from others. This is best seen in the work when, after performing onstage, the dancers sometimes disappear from the stage via a trapdoor only to be seen below the stage on film (projected back up onto the stage) where a less pleasant and sometimes quite violent side, perhaps a more honest side, of their relationship is shown.
Choreographically Doux mensonges consists largely of duets, on this occasion between Eleonora Abbagnato with Vincent Chaillet and Alice Renavand with Stéphane Bullion. With its focus sometimes on extended legs and arms stretched fully to the side in lifts, it reminded me a little of the duets from Stepping Stones. But I loved the opening duet executed on the edges of a trapdoor and a later moment when in one lift the woman held her legs straight down in a 5th position and executed a series of quivering beats as she was carried across the stage.
There were so many moments of sheer inventiveness, visually, kinaesthetically and musically. Doux mensonges for me is a work of breathtaking, expressionistic beauty. It is hard to think of anything that equals it.
Unfortunately I have been unable to convince the Paris Opera Ballet of my bona fides as a writer. The press office has ignored my requests for access to images, which is a shame because Teshigawara’s costumes in particular need to be seen rather than described. C’est la vie I guess. The image above of Glacial decoy is of the Trisha Brown Dance Company and comes from their media site.
5 November 2013, Bargehouse, Oxo Tower Wharf, South Bank, London
Terpsichore, the muse of dancing
Bargehouse is a four-storey warehouse named as it is because, apparently, it used to store the royal barge of James 1. Now it is a an exhibition site and between 25 October and 10 November the home of Ecocentrix, an exhibition focusing on indigeneity in the present day. ‘Performance and provocation in our times’ is its subtitle. (Why the building also has signs identifying each of the muses on one of its exterior walls escapes me for the moment).
I became aware of the exhibition because it was mentioned in Bangarra Dance Theatre’s newsletter for October, which noted that Jacob Nash, resident designer with Bangarra, had recently returned from London where he had an installation in place at the Bargehouse. And indeed Nash’s installation was the highlight of the show. Up on the fourth floor (no lift, narrow staircase) and in a darkened space, a triangular curtain of white feathers hung from the ceiling. The point of this feathered triangle brushed a kind of dance space, a circle outlined with sticks and feathers, on the floor below the hanging. Onto the hanging, film of a dancer performing Stephen Page’s 2011 work Brolga was being projected.
I am sorry that my point and click camera, not to mention my lack of expertise as a photographer in such conditions, was not able to achieve a record of this installation because it was elegant and quite magical with the image of the dancer blurring into the feathers. (See update below)
Marrugeku figure
But Nash and Bangarra weren’t the only Australians represented in the exhibition. On display were several costumes from works by the Broome-based physical theatre company, Marrugeku, whose work often includes stilt-work and aerial choreography. Below are two sea eagle costumes designed by Alice Lau for Buru, Marrugeku’s 2011 work for children.
To complete the Australian representation, a film by Fiona Foley was being screened in another room of the building. With the title Vexed it was made in 2013 and focused on the breakdown of traditional kinship structures as the result of what is referred to as the theft of Aboriginal women by white men at a certain stage in the history of Aboriginal/white relations in Australia. Unlike the Nash installation and the Marrugeku costumes, Foley’s film was strongly political and was accompanied by a text taken from Germaine Greer’s controversial essay On rage. In filmic terms Vexed was distinguished by a technique of overlaying footage upon footage to create trance-like sequences, which on the one hand were in contrast to the power of the message and on the other set up a surreal quality that strengthened the message.
What a pleasure it was to see Australian artists represented in such an influential way in this show.
Michelle Potter, 5 November 2013
Jacob Nash installation, Ecocentrix 2013
Update 7 November 2013: I was delighted to be contacted by a member of the Ecocentrix team with an image of the Jacob Nash installation. It is a more than difficult situation in which to photograph and the installation itself is a constantly changing one adding further difficulties, but the image above gives an idea of the mystery and magic of Nash’s work.
31 October 2013, Théâtre des Champs Élysées, Paris
It was, apparently, the wish of Chinese concert pianist, Lang Lang, to stage a dance project in which a group of sixteen dancers from Houston Ballet would perform with him in Paris. Lang Lang was credited with the ‘artistic conception’ of the show in which he played a selection of works by Chopin, with all the individualism for which he is renowned, while the dancers performed the choreography of Stanton Welch. At its best it was an evening to enjoy, although there were moments when Welch’s choreography was so complicated, especially in some of the partnering, that the show looked overwrought.
The best moments came when there was a real connection between Lang Lang and the dancers. When that connection was missing, as it occasionally was, the whole concept became a little meaningless. The first section after interval was a real highlight. With Lang Lang playing Chopin’s Waltz no. 19 in A minor and dancer Joseph Walsh performing solo, it was notable for the constant connection between pianist and dancer through gesture and eye contact. Walsh’s solo was also beautifully executed and showed off his lovely line and smooth technique. It was a brief, but clean and classically inspired performance.
The opening section of the show, danced by Derek Dunn as soloist accompanied by the full complement of Houston dancers performing to Ballade no. 1 in G minor opus 23, was another highlight, largely due to an exceptional performance by Dunn. He reminded me of what I imagine Nijinsky might have looked like. Dunn soared across the stage with broad, expansive movements, executed multiple turns with extraordinary ease and showed lovely fluidity in the upper body. I found him quite thrilling with a charisma that matched that of Lang Lang. As a result, a powerful and emotive connection was set up between dancer and pianist.
Other sections that worked for me included that performed to the well-known Waltz no. 1 in E flat major, Opus 18 (Grand valse brilliante) in which Oliver Halkowich and Jim Nowakowski deftly handled the humorous elements Welch introduced into what has never seemed to me to be a humorous piece of music; the closing duet between Karina Gonzalez and Ian Casady, which brought the evening to a beautifully calm end; and a duet for Lauren Strongin and Connor Walsh in which the lovely lightness of the choreography, especially the succession of lifts when Strongin scarcely touched the floor before becoming airborne again, perfectly matched the music (Andante spianato, Opus 22).
One section that didn’t work so well for me was a duet for Jessica Collado and Ian Casady in which Welch’s use of palms facing outwards and feet turned up smacked too much of Nacho Duato. The ‘Duato effect’ was mixed with more classical movements and the whole was, choreographically speaking, a somewhat messy combination.
I have always felt that Welch is at his best when choreographing non-narrative works and, despite some twisted and contorted moments of partnering, there was much to enjoy in Sounds of the Soul. Some effective lighting by Lisa J. Pinkham, including some lovely slow blackouts, added to a pleasant evening.
It was a pleasure to catch up with Stephanie Burridge in Canberra in early October. Currently a permanent resident of Singapore, Burridge was back in Canberra to work with GOLD, Canberra Dance Theatre’s group of performers over the age of 55. As the longest serving former director of Canberra Dance Theatre, Burridge was invited to return to restage a work she made for CDT in 1988, SomethingtoRemember. I was not in town to see a performance but my CanberraTimes article, which gives the back story, is below amongst the list of press articles for October. [Update 28 April 2019: online version no longer available].
Burridge, who is married to the first Singaporean director of the Singapore Arts Festival, continues to choreograph and perform. She teaches Dance and Contextual Studies at LaSalle College of the Arts and Singapore Management University and is series editor for the Routledge publishing company’s Dance in Asia and the Pacific. To date Burridge has edited books on dance in Cambodia, India, Malaysia, Australia and Taiwan.
It’s always surprising when and where dance happens. This performance was taking place on the Piazza Castello in Turin very early on a misty Sunday morning in October.
Reed Luplau
News of Reed Luplau and his work with Lar Lubovitch came to me from a colleague in the form of a program from a recent season by the Lubovitch company in Washington DC. Here is a link to the program. I look forward to seeing more of Luplau’s own choreography at some stage. I really enjoyed the only one of his choreographic works I have seen, which I wrote about way back in 2009.
Press for October
‘A welcome, sinking feeling’. Review of Michael Francis Willoughby in Elohgulp, Jigsaw Theatre Company. The Canberra Times, 1 October 2013, ARTS, p. 6. [Online version no longer available].
‘Bendy, bawdy and brilliant’. Review of EMPIRE, Spiegelworld. The Canberra Times, 12 October 2013, p. ARTS 22. [Online version no longer available]
‘From Russia, with no love’. Review of Swan Lake. Russian National Theatre Ballet, The Canberra Times, 15 October 2013. [Online version no longer available].
‘Burridge conjures golden performance’. Article on Stephanie Burridge and her work for Canberra Dance Theatre’s GOLD group. The Canberra Times, 18 October 2013. [Online version no longer available].
Laurel Martyn, one of Australia’s most eminent dancers, choreographers and dance educators, has died in Melbourne on 16 October, three years short of her 100th birthday. Born in Toowoomba, Queensland, as Laurel Gill, Martyn received her early dance training with Kathleen Hamilton in Toowoomba and Marjorie Hollinshed in Brisbane and in 1933 left Australia for further training. In England she studied with Phyllis Bedells and in 1934 won a choreographic scholarship from the Association of Operatic Dancing (later the Royal Academy of Dancing) with her first composition Exile. She passed all her Royal Academy exams to Solo Seal and in 1935 won the Adeline Genée gold medal, the second Australian to do so in the then short life of the competition, which began in 1931. In 1935 Martyn also arranged the dances for a production of The Waltz King and in the same year received second prize in a choreographic competition, the Pavlova Casket, for her ballet Sigrid.
Martyn joined the Vic-Wells Ballet (later Sadler’s Wells Ballet) in 1936. She was the first Australian woman to be accepted into the company and by 1938 was a soloist. While in England she changed her name from Gill to Martyn, also a family name. She danced in many of Frederick Ashton’s early ballets including Horoscope, Nocturne and Le Baiser de la fée and also spent time in Paris studying with the Russian émigré ballerinas Lubov Egorova and Mathilde Kchessinska.
Martyn returned to Australia in 1938 following the death of her father and took up a position in Melbourne with well-known teacher Jennie Brenan. While teaching for Brenan she was offered the dancing lead in Hiawatha, a pageant produced by T. E. Fairbairn and choreographed by Brenan, which opened in Melbourne’s Exhibition Building on 21 October 1939. The ballet cast of 80 was led by Martyn, Serge Bousloff and Lawrence Rentoul. While performing in Hiawatha Martyn was noticed by Edouard Borovansky who persuaded her to join his fledgling Borovansky Ballet, which she did in 1940. Martyn was one of Borovansky’s principal artists in the early days of the Borovansky Ballet, along with Edna Busse and fellow Queenslander Dorothy Stevenson. Martyn danced and created leading roles with Borovansky until 1945, including the Spirit of the River in Borovansky’s meditation on his Czech homeland, Vltava. While with Borovansky she also restaged Sigrid and reworked what is probably her best known work, En Saga, which premiered for the Borovansky Ballet in 1941.
Martyn left the Borovansky Ballet after her marriage to Lloyd Lawton in 1945. But in 1946, at the request of the Melbourne Ballet Club, Martyn took on the directorship of Ballet Guild, as the Melbourne Ballet Club had renamed itself. She was its director for an extended period. Ballet Guild became Victorian Ballet Company in 1963 and Ballet Victoria in 1967. Martyn was at the helm until 1973. She also established a school associated with Ballet Guild and students from the school augmented professional dancers in Ballet Guild productions. Martyn created many original works for Ballet Guild and Ballet Victoria productions and collaborated with Australian composers, including Dorian Le Gallienne, Margaret Sutherland, John Tallis, Esther Rofe, and Verdon Williams, and Australian designers, including Alan McCulloch, Len Annois, and John Sumner. Some of her works also had specifically Australian themes, notably The Sentimental Bloke (1952) and Mathinna (1954). Other significant works that Martyn made in this period included L’Amour enchantée (1950), a full-length Sylvia (1962), Voyageur (1956) and Eve of St Agnes (1966).
Martyn developed a specific method for teaching dance to children, the principles of which she published in Let them Dance (1985). She also was instrumental in forming the Young Dancers’ Theatre, for which she choreographed several works in the 1980s, and the Classical Dance Teachers Australia Inc, which provided in-service training for dance teachers. She was on the steering committee for the Australian Institute of Classical Dance in the early years of its development. Martyn guested with the Australian Ballet as Mar in The Sentimental Bloke in 1985, as the mother of James in La Sylphide also in 1985, as Berthe, Giselle’s mother, in Giselle in 1986 and as Miss Maud in The Competition (Le Concours) in 1989. In 1991 she reproduced Michel Fokine’s Le Carnaval for the flagship company. In 1997 she was the recipient of the award for lifetime achievement at the inaugural Australian Dance Awards.
Martyn was interviewed for the National Library of Australia’s oral history program in 1989 and the interview is available online at this link. See also ‘Inspiring Mentors: Valrene Tweedie and Laurel Martyn’ published in July 2002 in National Library of Australia News. In addition, a special issue of Brolga: an Australian journal about dance—Issue 4 (June 1996)—was published in honour of Martyn’s 80th birthday. It contains the following articles:
Laurel Martyn OBE: a voyager ahead of her time by Janet Karin
In her own words: excerpts from an oral history interview with Laurel Martyn
The choreography of Laurel Martyn, 1935–1991
The smile of Terpsichore: notes on Laurel Martyn as choreographer by Robin Grove
Dancing the Bloke by Geoffrey Ingram
Laurel Martyn and her composers, 1946–1956 by Joel Crotty
Also published in Brolga, in its first issue of December 1994, and under the title ‘Silent stories’, is Robin Grove’s incisive discussion of Martyn’s Sylvia.
Laurel Martin Lawton: born Toowoomba, 23 July 1916; died Melbourne, 16 October 2013.
Michelle Potter, 19 October 2013
*This brief biography draws on original research I carried out, first for the National Film and Sound Archive’s Keep Dancing! project between 1997 and 2001 and then as part of the early stages of the National Library of Australia’s Australia Dancing project beginning in 2002.
Featured image: Laurel Martyn as Remorse in Fantasy on Grieg’s Piano Concerto in A Minor, Borovansky Ballet, 1945. National Library of Australia
In September I continued my interviewing program for the National Film and Sound Archive’s Heath Ledger Young Artists Oral History Project with two interviews with graduating students from the National Institute of Circus Arts (NICA). Tim Rutty, seen above rehearsing an aerial rope routine, is specialising in aerials and has his eye on work with Circa.
Laura Kmetko, featured on NICA’s 2014 poster below, is specialising in contortion handstands. Following an appearance in the opening number at the Festival mondial de Cirque du Demain in Paris in January 2013 she hopes to pursue her career overseas.
Wayne McGregor
As we anticipate Wayne McGregor’s Chroma as part of the Australian Ballet’s 2014 program, I was interested to read about an exhibition called Thinking with the body, Wellcome collection currently showing in London until late October. A thought-provoking article about McGregor generated by this exhibition and written by Sarah Kent appeared on the arts desk site at this link.
Is it true, as Kent writes, that ‘focusing on fluent, high-energy motion devoid of emotion produces dances that feel sterile despite the brilliance of the technique’ I wonder? Below is a brief clip in which McGregor and composer Joby Talbot discuss the creation of Chroma.
In September I was delighted to have the opportunity to talk to Alex Sloan, presenter for 666 ABC Canberra, on her radio program Canberra Close Up. The interview is available at this link.
Press for September
During September I had the opportunity of reviewing shows that were not dance focused. It loved the experience of going to the theatre for non-dance reasons, which is something I rarely have time to do.
‘Don’t skip this beat’. Review of STOMP ’13, The Canberra Times, 5 September 2013, ARTS p. 8. [Online version no longer available].
‘Beauty re-Bourne on the silver screen’. Preview story on the film version of Matthew Bourne’s Sleeping Beauty, The Canberra Times, 7 September 2013, Panorama p. 15. [Online version no longer available].
‘Caught between two worlds’. Review of The Book of Everything, Canberra Rep., The Canberra Times, 17 September 2013, ARTS p. 7. [Online version no longer available].
‘The freedom for dancing’. Review of Footloose, Supa Productions, The Canberra Times, 17 September 2013, ARTS p. 6. [Online version no longer available].
‘Ballerina’s globetrotting life’. Obituary for Anna Volkova Barnes, The Canberra Times, 18 September 2013, ARTS p. 6. As a PDF.
‘Russian feast a real cracker’. Review of A Festival of Russian Ballet, Imperial Russian Ballet, The Canberra Times, 19 September 2013, ARTS p. 8. [Online version no longer available].
‘Winton’s tale of grief challenges and confronts’. Review of Tim Winton’s Shrine, Black Swan State Theatre Company, The Canberra Times, 28 September 2013, ARTS p. 20. [Online version no longer available].
Details of the dance productions Canberra audiences can expect in 2014 are slowly emerging. In announcing its ‘Collected Works, 2014′, the Canberra Theatre Centre revealed that both Sydney Dance Company and Bangarra Dance Theatre will return to Canberra in 2014, thus maintaining the strong links those two companies have forged with the city over many years. For example, Sydney Dance Company’s first season in Canberra was in 1977.* Scarcely a year has been missed since then.
Sydney Dance will bring its triple bill Interplay, which will consist of new works by Rafael Bonachela and Gideon Obarzanek and a reprise of Raw models by Italian choreographer Jacopo Godani. Raw models was part of a Sydney Dance Company program in 2011 and my thoughts on the show then are at this link. Bangarra will bring a new work by Stephen Page called Patyegarang, which focuses on the friendship between a young indigenous woman, Patyegarang, and colonial identity Lieutenant William Dawes.
The Brisbane-based group Circa will also be in Canberra in 2014 with their new production S. My connections with the National Institute of Circus Arts through the Heath Ledger Project interviewing program have brought home to me the esteem with which this company is held in the industry so I look forward to their 2014 show, which we are told explores a sinuous energy—appropriately, given the title S—and is a physical ode to the human body.
A surprise revelation at the launch of the 2014 season was that West Australian Ballet will visit in October with a production of La Fille mal gardée, but not in the version choreographed by Frederick Ashton that we are used to seeing in Australia. The version being brought by West Australian Ballet is choreographed by Marc Ribaud, currently director of the Royal Swedish Ballet, and is set in 1950s rural France. Costumes are by Lexi De Silva whose previous credits include designs for Tim Harbour’s Halcyon and Sweedeedee. De Silva also worked alongside Hugh Colman as he created the designs for Stephen Baynes’ recent Swan Lake. Sets are being created by Richard Roberts, lighting by John Buswell. Here is the Canberra Theatre’s preview video for the Fille program. It is a photo shoot in essence featuring the leading characters, Lise, Colas and Alain, but gives some idea of what the work might look like.
But before we even get to the new year, the Canberra Theatre has also just announced a Christmas treat for very young dance-goers (and their parents and grandparents) who will have the pleasure of seeing Angelina and friends live onstage in Angelina Ballerina: the Mousical. It opens at the Canberra Theatre on 12 December 2013. What a treat!
Michelle Potter, 28 September 2013
* Although led by Graeme Murphy the company was at that stage still called the Dance Company (NSW). 1977 was Murphy’s first full year as director of the company, which was renamed Sydney Dance Company in 1979.
Renewed interest in my research into the 1934–1935 tour by the Dandré-Levitoff Russian Ballet has prompted me to post further material that originally appeared as appendices to my article on the tours. The article appeared in Dance Research (Edinburgh University Press), 29:1 Summer 2011.
Below is a list of divertissements that were performed in Australia, Appendix B of the Dance Research article. In a previous post I listed the repertoire and schedule of performances (Appendix A of the Dance Research article) but listed only the title ‘Divertissements’, where appropriate, without giving details.
APPENDIX B: AUSTRALIAN DIVERTISSEMENTS This list of divertissements, the short pieces that usually concluded each program, has been constructed from programs for Australian seasons in Brisbane, Sydney, Melbourne and Perth. Occasionally alternative names were used and they have been included preceded by a slash. Occasionally, too, Promenade (Old Vienna) and Polovtsian Dances were listed in advertisements as divertissements rather than as main program items. They have not been included on this list and have been kept as part of the main repertoire schedule. The list may not be complete and other divertissements may have been in included outside Australia.
Abhinaya nrita (Authentic Hindu music/Hindu melody) Bluebird (Tschaikowsky) Dance of the doll (Kiurci) Dance of the doll (Salvado) Dance of the hours (Ponchielli) Danse russe/Russian dance (Bakalienikoff) Etude plastique (Liszt) Grand pas classique (Deldevez) (Grand) pas hongrois classique (Glazounoff) Guitana/La gitana (Salvado) Ice maiden (Grieg) Indian tribal dance (Minkus) Japanese dances (Original Japanese music) L’oiseau (Schumann) Magyar tanc/dance (Bartok) Mexican dance (Padilla)
Negro fire-worship dance (Stempinsky) Nocturn (Schumann) Pas de fleurs (Tschaikowsky) Pizzicato (Gillet) Spanish character dance (Romero) Spanish dance (Albeniz) Spanish dance (Granados) Tarantella (Rossini) The faun (Debussy) The love song (Kreisler) Toreador Spanish dance (Julio Garson) Trepak (Launitz) Valse (Fetras) Valse (Strauss) Valse brilliante (Chopin) Voices of spring (Strauss)
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Below is a list of dancers who performed during the Australian leg of the tour, Appendix C of the Dance Research article.
APPENDIX C: DANCERS PERFORMING IN AUSTRALIA Press reports on the arrival of the company in Australia noted that it comprised 36 dancers. (‘The Russian Ballet arrival in Sydney’, The Sydney Morning Herald, 26 October 1934, p. 12). Listed below, with some explanatory notes, are those whose names I have found appearing on programs or mentioned in the press, adding up to less than 36 dancers.
Women: Olga Spessiva (Brisbane and Sydney) and Natasha Bojkovich with Kathleen Crofton, Lisa Elem, Juliana Enakieff, Tamara Djakelly (Giakelly), Eileen Keegan, Raia Kuznetzova, Molly Lake, Eleanora Marra, Lola Michel,* Anna Northcote, Elvira Rone, Christine Rosslyn, Vera Sevna, Edna Tresahar,** Audrey Valeska.
Molly Lake in her dressing room. Photo: Personal archive of Anna Northcote, private collection
Men: Anatole Vilzak, Stanley Judson, Paul (Pavel) Petroff, H. Algeranoff and Dimitri Rostoff with Jan Kowsky (Leon Kellaway), Travis Kemp, Slava Toumine, A. Piekers, George Zorich.***
Principal dancers Stanley Judson (left) and Anatole Vilzak (right). Photos: Personal archive of Anna Northcote (Severskaya), private collection
* The name Lisa Mitchell is mentioned in a review (‘Ballets of beauty’, Courier Mail (Brisbane), 15 October 1934, p. 21) but not in cast lists in programs. I have assumed the review is a misspelling of Lola Michel, a name that does appear in cast lists and reviews. ** The Sydney Morning Herald mentions an Edna Tresabel (‘The Russian Ballet. Arrival in Sydney. Olga Spessiva and her company’. The Sydney Morning Herald, 26 October 1934, p. 12). I have not been able to find another reference to Tresabel and have assumed it to be a misspelling of Edna Tresahar. ***George Zorich spelled his second name Zoritch in his memoirs. It was always Zorich in programs for this company.
The following dancers are listed in various South African newspaper sources but did not appear in Australia in 1934–1935: Vera Nemchinova, Anatole Oboukhoff, L. Kutchurovsky (Katshrovsky), Nicolai Zvereff. Marina Grut also mentions that Nana Gollner and Yvonne Blake performed in South Africa (Selma Jeanne Cohen (ed), International Encylopedia of Dance (New York: Oxford University Press, 1998), Vol. 5, p. 650.
A photo of Otto Kruger appears in Brisbane programs but this name never appears in cast lists in the programs.
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The material contained in these appendices should not be considered as necessarily complete or definitive at this stage. Any additions or corrections, preferably with sources cited, are welcome. Other online material about the tour is at this tag: Dandré-Levitoff Russian Ballet.
All textual material contained in these appendices and in the article is the intellectual property of The Society for Dance Research and should not be reproduced without permission. Full bibliographic details.
Michelle Potter, 23 September 2013
Featured image: Finale, Les Sylphides, Dandré-Levitoff Russian Ballet, ca. 1934. Personal archive of Anna Northcote, private collection
The image below is labelled ‘Lisa … Carnival’ in Anna Northcote’s photo album. It is possibly the Lisa Mitchell/Lola Michel/Lisa Mulchelkans/Elisa Mutschelkmans mentioned in the list of dancers above and in the comment from David Sumray below.
19 September 2013, State Theatre, Victorian Arts Centre
What a magical, mesmerising and eccentrically beautiful Cinderella Alexei Ratmansky has created for the Australian Ballet. I have to admit to goose bumps on many occasions so thrilling was the storytelling, the choreography, the scenic design and the performance.
The story we know so well is intact in its outlines but Ratmansky has made the work his own, and boldly so. The clues we get to the era in which this ballet is set come largely from the set and costumes by Jérôme Kaplan and from the projection design by Wendall K. Harrington. With their references to surrealist artists such as Salvador Dali and Giorgio de Chirico, and even perhaps to a Dada film, Fernand Leger’s Ballet mécanique, and the Bauhaus work by Oskar Schlemmer, Triadic Ballet, we can place this Cinderella in the 1920s or 1930s. But the universality and theatricality of the visual elements, including the Act I setting of a proscenium arch within the theatre’s own proscenium arch, put it into an era beyond eras.
As Cinderella, Leanne Stojmenov brought a range of emotions to the role. She was lost in dreams as she danced alone while the Stepsisters readied themselves for the Prince’s ball; full of sadness when the Stepmother slashed the portrait of her now dead mother; caring as she welcomed the somewhat outlandish Fairy Godmother into her home; shy as she tried out dance steps at the ball; pensive as she wondered whether she would meet the Prince again; and ultimately joyous as she danced the final pas de deux with him. It was a finely sculpted performance.
As the Prince, Daniel Gaudiello also presented us with a well-defined character with a strong personality. Dressed stylishly in a white suit he was the man in charge as he interacted with his guests and as he travelled the world seeking the owner of the slipper left behind at the ball. On this world tour we saw some of Gaudiello’s best dancing. A series of grands pirouettes finishing with multiple turns was beautifully executed. And what a spectacular exit he made as he left the stage at the end of that scene. But with his Cinderella he was a different man, much less hard-edged. And the final pas de deux is such a glorious piece of choreography. Two two bodies move together as one, bending and twisting, making complementary lines with arms and legs, and finishing so softly and gently.
At times the choreography was surprising as is so often the case with Ratmansky. Feet, arms, upper bodies, everything really, moved in unexpected ways. A pirouette had the foot at the cou de pied position, a cabriole appeared from nowhere, bodies bent forward when one expected them to bend back. And Ratmansky is a master at telling the story, creating a character, and giving clues to and motifs for future moments in the story through choreographic and dramatic methods. I wondered why the Fairy Godmother, played with style by Lynette Wills wearing a kind of bowler hat, long dark clothing and black glasses, disappeared into the grandfather clock in Cinderella’s house. But it became clear later. And the beautiful swirl of black-caped figures, holding Roman numerals and circling the stage as the Fairy Godmother advised Cinderella to leave the ball at midnight, was also reprised in a surprising way later.
There were some wonderful performances from others in the cast. Ingrid Gow and Hailana Hills as the Skinny Stepsister and the Dumpy Stepsister respectively had some hilarious moments, as did Amy Harris as the rather vindictive Stepmother. I also admired the performances of the celestial bodies who transport Cinderella to the ball (no pumpkin coach in this production), although it was hard to identify the dancers from where I was sitting and another viewing is needed to match some of the various planets represented with their costumes.
As for the scenic transformations, they were astonishing, breathtaking. It was not only the surprise they generated when they happened, but also the way the lighting by Rachel Burke was used to enhance every transformation, as well as the spectacular use of fabric of various kinds to assist the transformations—in fact the use of diverse fabric textures throughout the ballet in costuming and elsewhere gave us yet another magnificent scenic element. And musically, I have never heard the Prokofiev score sound so clear and so distinctive. Without wanting to take away from the orchestral playing, Ratmansky’s choreography is so attuned to the music that it adds a visual element to the sounds that allows me at least to hear the music differently.
I look forward to seeing this remarkable work again during the Sydney season. Let’s hope it remains in the repertoire for a long time to come. It is sheer magic, brilliantly conceived, and a truly immersive experience. All hail Ratmansky and his team.
For my comments after a second viewing in Sydney follow this link. See also my comments on David Hallberg’s performance as the Prince published by DanceTabs.
