Sphere. Australian Dance Party

My review of Sphere was published online by Canberra CityNews on 15 May 2026, following its opening performance in Canberra. The review below is a slightly enlarged version of the CityNews post. Follow this link to the CityNews review.

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14 May 2026. The Vault, Dairy Road Precinct, Fyshwick ACT

The Vault is a concrete bunker that used to be a storage depot for coins and then beer kegs. It is a blank space, without windows, without pillars and without any decorative elements. It is located in Canberra’s Dairy Road Precinct on the edges of the industrial area of Fyshwick. It can perhaps be described as an example of Canberra’s brutalist architecture.

Sphere is a work, according to Alison Plevey founder of Australian Dance Party, that focuses on two meanings of the word ‘sphere’, that of aspects of the universe and, as well, the sphere of influence of dance. It was also created in celebration of Australian Dance Party’s tenth year of existence and, given its wide focus and its presentation in the Vault, which on the surface is not a hugely theatrical space, it is perhaps a little surprising that it was as immersive as it was.

On entering the space for the performance, it was noticeable that seating was spread out and arranged irregularly—no rows or tiers of seats, just a few simple benches and a few small rows of regular seating scattered across the area. There were spaces too for audience members to seat themselves on the floor. We were invited, as the production began, to move around the space as the work unfolded and, as the desire took us, to be closer to some aspects of the performance.

The overall production consisted of several sections. There were group moments, including the opening section led by Jahna Lugnan. This was followed by a very physical duet, a solo or two, including a powerful performance by one of the male dancers, and a few more group sections, all taking place in different areas of the Vault’s space.

A scene from one of the solos in *Sphere*. Australian Dance Party, 2026. Photo: © Michelle Potter

I am not sure whether Sphere was specifically choreographed or whether it was largely improvised movement. The character of the movement was, however, distinctive of the work of Australian Dance Party. There was a strong emphasis on fluidity of the upper body and, when working in groups, the dancers moved together often with bodies twisted around each other. Unusual shapes developed.

But what made the work so immersive, was the magnificent video imagery that covered the walls of the Vault as the dancing moved ahead. Created by videographer Liam Budge of Creswick Collective, the imagery was largely shot in a very Australian landscape of eucalyptus trees, with the vision including shots of dancers performing amongst the quite magnificent trees. One section, however, was shot to include graffiti images found in a more residential part of Canberra.

As it happened, the invitation to the audience to move through the space and get closer to some sections was not taken up to any great extent. I didn’t move around and to tell the truth I’m not really sure if moving around the space would have added to my feeling for the nature of Sphere. But I was fascinated by a quite young boy who did get up from his seat and try out a bit of dance for himself.

While immersive was the word that kept coming to mind as the work progressed, I also felt there was a calming quality to the overall production. Perhaps it was brought on by the lighting design, which was quite dark, apart from the changing, well-lit areas in which the dancing itself was taking place. It was at times difficult to distinguish the dancers from the audience as the performers, when not dancing, were sitting in various spots within the space rather than being hidden in the wings of a more usual performing space. It seemed to break down, in a positive way, differences between people.

Sphere, with original music from Sia Ahmad, was an exceptional and unusual tenth birthday event.

MIchelle Potter, 15 May 2025

Featured image: A view of the setting for one stage of Sphere. Australian Dance Party, 2026. Photo: © Michelle Potter

I was a guest of Australian Dance Party for this performance.

Romeo and Juliet. The Australian Ballet (2026)

6 May 2026 (matinee). Joan Sutherland Theatre, Sydney Opera House

The Australian Ballet’s 2026 presentation of John Cranko’s Romeo and Juliet is quite simply extraordinary! To put it bluntly I can’t remember, in decades of watching dance, ever being so involved in the unfolding of a narrative production.

The actual dancing, led at the performance I saw by Brett Chynoweth as Romeo and Yuumi Yamada as Juliet, was just brilliant. And it was not just the dancing but the acting as well, and that from across the entire cast, which held the show together. Every character, even those in the corps de ballet, appeared to have an individual personality. Not only did they demonstrate individuality in their every moment onstage, but their reactions with each other were also so exceptional and entertaining that the story just sped along and held one’s attention from beginning to end.

This production was staged by choreologist Mark Kay and Yseult Lendval, a former principal dancer with Stuttgart Ballet and currently ballet mistress in Stuttgart. I can only surmise that the extraordinary nature of the production was a result of this staging and in fact Lendval is well-known for her connections with Cranko’s works.

But in addition to the dancing and acting, I suspect that the beautiful look of the ballet had much to do with the lighting design by Jon Buswell. The lighting design moved from the outdoor brightness of the market-place scenes to the indoor evening event in which Juliet and Romeo meet and dance together for the first time, and in which the Capulet family and their guest give us those famous group dance moments. Then there is the romantic outdoor evening light in which the balcony scene between Romeo and Juliet unfolds. Every moment is thrillingly lit and so well captured by Daniel Boud’s photography.

Romeo and Juliet connect with each other outside the Capulet residence. The Australian Ballet 2026. Photo: © Daniel Boud

I suspect too that the costumes, designed way back in 1962 by Jürgen Rose, looked so spectacular in 2026 because of Buswell’s lighting (even though they may have been recently remade).

A scene from the Capulet Ball from *Romeo and Juliet*. The Australian Ballet 2026. Photo: © Daniel Boud

I was also thrilled to note that the Sergei Prokofiev score for the ballet (played by the Opera Australia Orchestra) was being conducted by Nigel Gaynor, whose work I have long admired during his time (now over apparently) with Queensland Ballet.

The one slightly jarring moment for me was in Act 3 when Juliet’s friends (and bridesmaids in waiting?) came into her bedroom to wake her up. The dance they did (and always do) before specifically approaching her as she lies in bed has always seemed too long to me. It did again on this occasion. Let’s get on with the story!

But all in all what a tremendous afternoon of ballet it was. I have purposely not singled out any of the dancers (other than mentioning Yamada and Chynoweth as the leads) as quite honestly everyone gave an exceptional performance.

Michelle Potter, 10 May 2026

Featured image, A moment from the carnival scene from John Cranko’s Romeo and Juliet. The Australian Ballet, 2026. Photo: © Daniel Boud

I attended this performance as a member of the general public. My ticket cost $245

Dance diary. April 2026

Dance week opening event—Ausdance ACT

The opening of 2026 Dance Week from Ausdance ACT took place on top of Canberra’s Mount Ainslie on 29 April, international Dance Day. Founded in 1982 by the International Theatre Institute, International Dance Day takes place annually on the birthday of Jean-Georges Noverre (1727-1810). Noverre is generally regarded as the founder of modern ballet.

The Canberra event began with a Welcome to Country delivered by Ngunnawal elder Aunty Serena Williams, who also prepared and administered the smoking ceremony. The International Dance Day message for 2026 was written by Canadian choreographer Crystal Pite. It was read to the assembled audience on Mount Ainslie by Elizabeth Dalman. Follow this link to read the message.

(left) Aunty Serena begins the smoking ceremony; (right) Elizabeth Dalman reads the International Dance Day message. Photos: © Michelle Potter

The official introductory messages, which also included a welcome from ACT MLA Caitlin Tough, were followed by a solo dance by Liz Lea from her forthcoming production Diamond, and then a group dance by a range of Canberra-based performers, also a sneak peek at what the Diamond presentation might look like. All dancers were spectacularly dressed and Diamond, due to take the stage in August, promises much!

A few changes …

April was filled with news of changes to the careers of several leading figures in the Australian dance world. A move by Callum Linnane, exceptional principal artist with the Australian Ballet, was the first to be brought to my attention. Linnane will leave the Australian Ballet in June to take up a role as principal artist with Hamburg Ballet.

Callum Linnane in rehearsal for Alice Topp’s *Aurum*. Photo: © Jeff Busby

I have admired Linnane’s dancing for some time. For more about him, and my thoughts on his dancing on this website, see this link.

Raewyn Hill is moving on from her position as artistic director of Perth’s Co3 Contemporary Dance, a company she has led since its inception in 2014. She will remain with the company, which is presently searching for a new director, until the end of 2026. It is not yet clear how Hill’s future will unfold.

Then Kyle Page and Amber Haines, co-directors of Townsville-based Dancenorth, will also leave the company at the end of 2026. Their futures are also not clear at this stage.

Vale

It was sad to hear that Ben Stevenson had died in Fort Worth late in March.

In Australia Stevenson’s choreography has been brought to our attention by Li Cunxin, who worked with Stevenson after arriving in America from China when Stevenson was directing Houston Ballet (1976-2003). Li brought Stevenson to Australia on occasions to stage several of his works for Queensland Ballet. Stevenson’s productions of Nutcracker and Cinderella were especially popular.

Ben Stevenson in the Queensland Ballet studio with Li Cunxin. Photo: © David Kelly

From a personal point of view I continue to recall walking down a street in Dallas, Texas, one Sunday afternoon in 2011 and seeing two tutu-clad dancers walking along the same street. They were on a mission to advertise Stevenson’s then forthcoming presentation of Nutcracker for Texas Ballet Theater, which he directed after leaving Houston Ballet.

Texas Ballet Theater dancers, 2011. Photo: © Michelle Potter

Another book from Brisbane

After my visit to Archives Fine Books in Charlotte Street, Brisbane, in October last year (2025), when I discovered their range of second hand dance books, I had another opportunity to visit the shop after seeing Queensland Ballet’s presentation of Messa da Requiem in March this year (2026). I headed, of course, straight to the dance section and was pleased to find another book that was not part of my collection: Diaghilev. Creator of the Ballets Russes, edited by Ann Rodicek with an extensive prologue by Rodicek and contributions from six authors. It was a book published to accompany an exhibition held at the Barbican Art Gallery in London in 1996.

Page of costume designs by Nikolai Roerich for *The Rite of Spring*. 1913

Without wanting to diminish in any way the strength of the prologue and written articles, what especially attracted me were the many images of the items that had been on display in the exhibition. In particular there were a number of costume designs that I had not seen before (see above). It was also fascinating to see portraits of those associated with the company (not necessarily dancers although they were there of course). A fascinating new look at Diaghilev and the work of his collaborators! And such a great second hand bookshop.

Press for April 2026

– ‘Aladdin retold through a ‘minimalistic’. Review of Aladdin. Victorian State Ballet. CBR City News, 24 April 2026. Online at this link.

– ‘Elegant dancing that was hard to see’. Salut! Baroque. CBR City News, 25 April 2026. Online at this link.

Michelle Potter, 30 April 2026

Featured image: Liz Lea in a solo moment from her forthcoming production Diamond. Photo: © Michelle Potter

Invitation to the Dance. Salut! Baroque

My review of Invitation to the Dance was published online by Canberra CityNews on 25 April 2026, following its opening (and only) performance in Canberra. The review below is a slightly enlarged version of the CityNews post. Follow this link to the CityNews review.

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It was a surprise to discover that the music ensemble Salut! Baroque, which has been performing music from the Baroque era for Australian audiences for over 30 years, was to present a program called Invitation to the Dance. Not only was the presentation to focus on music created with dance in mind, but it was to include a live performance from a dancer.

Musically the evening consisted of nine works, one each from Jean-Féry Rebel (Les caractères de la danse, 1715); Christoph Graupner (‘Le Desire’ from Overture in F Major (1731); Philipp Heinrich Erlebach (Trio Sonata No. 2 in E Minor, 1691); Georg Philpp Telemann (Overture Suite in B Flat Major, c. 1725); Henry Purcell (Instrumental Dances from The Fairy Queen, 1692); James Oswald (‘The Marvel of Peru’ from Airs for the Seasons, Autumn, 1755; Jean-Baptiste Lully (excerpts from Ballet des Saisons, 1661); Johan Helmich Roman (Golovinmusiken, 1728); and an anonymous composer with a Romani folk dance ‘Fa nyé mama’ from Collection Uhrovska, 1730). The dance component was performed by a Sydney-based specialist in Baroque dance, Aimee Brown.

My expectation was that Brown would perform in every, or at least almost every musical section. This was not the case. She danced for the whole of the opening piece, Rebel’s Les caractères de la danse. But for the rest of the evening Brown performed in just four of the items and then only for short moments from those four numbers.

Brown wore a 18th century-inspired, pale pink gown with three-quarter length sleeves ending in a frill, and with a few decorative elements as part of the gown. Her shoes were also pink and resembled ballet flats with a small heel attached. For the first item she wore a large, white feather in her hair.

There were slight changes of costume for each of her appearances, including changes to the headdress and additions to the costume including the addition to the dress of two side panels in a decorative Baroque design. In some items Brown also made use of what might be called props, including at one stage a chain of floral items and at another stage a fan.

Brown’s dancing was quite delicate with an emphasis on hand and arm movements along with footwork that consisted mostly of quite small steps that looked balletic but without the turnout that later came to characterise balletic movement. Her upper body was mostly held upright. Elegant is the descriptive word that comes to mind.

It was disappointing that Brown’s performance was not made more visible, but this seems to characterise those occasions where dance is included as part of a musical event. At a basic level, music is made to be heard but dance is made to be seen. When the dance is performed behind the orchestra, even when on a slightly higher level as was the case with the Salut! Baroque performance, the dance, especially what the feet are doing, is always largely hidden by the musicians. I had to stand up and move to the side of the hall to see Brown’s footwork, which showed a balletic quality but without the turnout that now characterises balletic movement. Then, and again this was the case with Invitation to the Dance, the audience is often not in a tiered seating arrangement. This hides much of the dance from almost everyone.

One very pleasurable aspect of the presentation was the very dance-like appearance of one of the musicians, John Ma. He played his Baroque violin not just with arms, hands and fingers, but with his whole body. As well as producing an outstanding sound, Ma moved his body according to the sound he was producing, up, down, sideways and so on. He was stunning to watch (and hear). A dancer-musician!

Michelle Potter, 28 April 2026

Please note that the dress worn by Brown in this image is not the one she was wearing in Invitation to the Dance. There appears to be no image from the Canberra presentation.

I was a guest of Salut! Baroque at this performance.

Aladdin. Victorian State Ballet

My review of Aladdin was published online by Canberra CityNews on 24 April 2026 following its opening on 23 April in the Canberra Theatre Centre’s Playhouse. The review below is a slightly enlarged version of the CityNews post. Here is a link to the CityNews review.

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This is a surprising presentation of the story of Aladdin, a young man whose life is transformed by a magic lamp that he discovers when lured into a cave by a sorcerer.

The scenario is somewhat complicated and involves a lot of traditional mime by the leading characters—Aladdin (Michael Scott-Kahans); Jafar the Sorcerer (Tristan Gross); a Genie (Daniel Sierra), who obeys the demands of the holder of the magic lamp; Aladdin’s mother (Charlotte Jones); and Princess Jasmin (Elise Jacques), whom Aladdin eventually marries. Those mime gestures included ‘beautiful woman’, ‘to marry’, ‘to dance’ and others. I did wonder whether the narrative was clear to those whose knowledge did not include those gestures, which are rarely used and so probably little-known these days.

Nevertheless, the leading characters performed strongly both in terms of their dancing and in the development of the relationships between them. Scott-Kahans gave an exceptional performance as Aladdin. His dancing was filled with outstanding elevation and expressive partnering in which he always seemed to have a caring relationship with the woman he fell in love with. His fluid arms and upper body were just beautiful to watch and are characteristic of the work of Victorian State Ballet.

Gross maintained a certain mysterious quality as the Sorcerer until he managed to extract the magic lamp from Aladdin. After this the Sorcerer became a nasty individual who was eventually overcome.

Jacques danced beautifully throughout as Princess Jasmin. Her stage presence is remarkable and her technique is almost faultless.

Elise Jacques as Princess Jasmin. Photo: © Enpointe Productions, 2025

The only main character whose performance I thought needed a little more work was the Genie, danced by Sierra. I found his movement often quite static and his hands stiff and overly stretched. Sometimes, too, his partnering looked a little as though he was struggling to lift his partner. He was making a terrific effort to maintain, I think, a particular distance or difference from the human beings he was dealing with but somehow that interfered with his ability to dance smoothly.

Choreographic highlights came from the four duets representing the jewels that Aladdin found in the cave that he was lured into by the Sorcerer—emeralds, sapphires, rubies and diamonds. The dancers performing the duets were each accompanied by three dancers also dressed as those jewels. They filled the background during the duets and showed well the approach to using the space of the stage by the choreographers (Michelle Cassar de Sierra and Martin Sierra Robles).

The quite large corps de ballet (perhaps only seemingly large on the Playhouse stage?) also related well to each other when dancing, and when standing at the side of the activities while the story progressed. This kind of engagement seems to me to be a major strength of Victorian State Ballet.

The dancxers were costumed by Felicity Kerr, Jill Kerr and Jan Tredrea. Costumes were mainly Arabian-style outfits in a stunning array of colours and decorative elements, although they were replaced by tutus for the women in the closing section. That closing section included a section that looked back to an earlier period, that is it included a pas de deux by the leading couple followed by variations and a coda from them. Then followed a finale in which all the characters joined in the dancing.

Lighting was by Martin Sierra who (perhaps?) was also responsible for the imagery that took the place of a standard backcloth. Especially in Act II the backgrounds were remarkable visions of the palace in which Princess Jasmin lived.

The production took me back to some recent reading on the development of ballet in Russia in the late nineteenth century. It also made me realise how much dance has changed since that era. Although this production of Aladdin was a more than interesting watch, we have moved on from the nineteenth century and are used to a less fussy and certainly more minimalist approach to ballet from what Aladdin showed us. I wished for a slightly less jampacked (for want of a better word) production.

Michelle Potter, 24 April 2026.

Featured image: Dancers of Victorian State Ballet in a moment near the end of the company’s presentation of Aladdin. Photo: © Enpointe Productions, 2025.

I was a guest of Victorian State Ballet at this performance.