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.

Flora. The Australian Ballet & Bangarra Dance Theatre

8 April 2026 (matinee). Joan Sutherland Theatre, Sydney Opera House.

Almost 20 years ago, in October 1997, Bangarra Dance Theatre and the Australian Ballet collaborated on a production, Rites, choreographed by Stephen Page, then artistic director of Bangarra. It was a landmark event and the work has since been restaged and has toured and been the subject of a major exhibition in Melbourne. Flora, choreographed by current director of Bangarra, Frances Rings, follows that collaborative tradition.

Flora, in typical Bangarra style, consists of several sections (in this case 12) making up a storyline. The storyline focuses in this case on the evolution of Australian flora beginning with ‘Mother Seed’ and moving eventually to ‘Bush Flowers’. Early moments show bodies representing seeds or young plants entering the earth (stage) from above. As the work continues various moments in the progress of growth are presented.

Artists of Bangarra Dance Theatre and the Australian Ballet in an early scene from *Flora*, 2026. Photo: © Kate Longley

For me the highlight of the work was the section that opened Act II. Called ‘10 Days’, it represented the actions of Sir Joseph Banks who, while in Australia in the early years of British colonisation, removed hundreds of species of Indigenous plants from their natural environment and took them back to England. The program notes state, ‘The collection of species and objects to display in museums reduces First Nations People and cultures to artifact status.’

The removal of native species by Sir Joseph Banks. *Flora*, Bangarra Dance Theatre and the Australian Ballet, 2026. Photo: © Daniel Boud.

Both the set (Elizabeth Gadsby) and costumes (Grace Lillian Lee) for this section were exceptional and, in addition, it was at this stage that political elements surfaced strongly. I am not sure, however, that the reference to the removal of the notion of ‘Aboriginal people’ from the official (political) understanding of the Australian community (as unbelievable as that policy was) needed to be so stark and loudly presented. But then Rings usually makes no bones about her determination to make a political statement through her works.

The final section ‘Bush Flowers’ was another highlight, largely (once more) as a result of Grace Lillian Lee’s totally spectacular costumes. But I did wonder, given their emphasis on extensive detail, if they were difficult to move around in, but the dancers performed effortlessly.

Bush flowers from the final section of *Flora*. Bangarra Dance Theatre and the Australian Ballet, 2026. Photo: © Daniel Boud.

Although there was much to admire in Flora, especially from a visual point of view and from the accompanying score composed by William Barton, the choreography did not move me. While the movement was always fluid and made excellent use of the space of the stage (on, around and above it), the movement itself often seemed without any reference to the actions it was accompanying. If the online descriptive analysis had not been written (and read) would we have had much of an idea, especially in the early sections, about what was taking place?

Very recently I read a book called Diaghilev. Creator of the Ballets Russes, which I had not seen before. Edited by Ann Kodicek, it contained articles by several authors, including one by Irina Vershinina on the music Diaghilev chose for the works he commissioned. In that article I read a comment from designer Léon Bakst in which he said, ‘Our dances, our settings, our costumes—they are all so exciting because they reflect that most elusive and secret thing—the rhythm of life.’ I really wish I had read the comment (and the book) before I saw Flora. The concept of ‘the rhythm of life’ would perhaps have allowed me to see Rings’ choreography in a different light rather than with the frustration that kept rising in my mind.

Michelle Potter, 12 April 2026

Featured image: A scene from Flora. The Australian Ballet and Bangarra Dance Theatre, 2026. Photo: © Kate Longley

I watched this performance as a member of the general public. I paid $207 for my ticket.

Australian Dance Week, 2026. Ausdance ACT

Perusing the Canberra program for Australian Dance Week I was instantly surprised by news of the opening celebration, which will take place on International Dance Day, 29 April. Ausdance ACT has programmed this event to occur on top of Mount Ainslie, a beautiful spot whose current vista would thrill the designers of Canberra, Walter Burley Griffin and his partner, Marion Mahony Griffin.

But delving further into the choice of an outdoor venue, Cathy Adamek, Executive Director of Ausdance ACT, explained a little about why Mount Ainslie was chosen. There are a few reasons but importantly, according to Ngunnawal Elder Aunty Serena, Mount Ainslie figures significantly in the cultural background of the Indigenous people who inhabited the area long before it became Canberra. Aunty Serena will deliver the Welcome to Country at the opening. You may hear more from her about Mount Ainslie’s significance.

Here is what the program tells us of the event:

Join us on top of Mount Ainslie for International Dance Day as we celebrate 2026 Australian Dance Week. Hosted by Ausdance ACT Executive Director Dr Cathy Adamek featuring a special appearance by the Diamonds of Dance Week! Dress in your sparkly best and join us for a celebratory picnic. Traditional welcome and smoking ceremony by Ngunnawal Elder Aunty Serena from Yukkumbruk Dreaming. To be officially opened by Minister for the Arts Michael Pettersson MLA.

LIz Lea, study for *Diamond*. Photo: © O & J Wikner Photography

But to the dance component for the week. There is, as is the usual practice, many Canberra dance schools offering free classes over the week for prospective students to try out various approaches to dance education. There is also a variety of workshops for beginners to professionals in dance-related activities and projects. What stands out from an overall look at the program is the diversity of dance that characterises the Canberra dance scene. Dance Week in Canberra includes items focusing on ballet and contemporary dance as well as folk dance, hip hop activities, street performances, dance as a meditative activity, and so much more.

Classes with ZEST. Dance for Well Being will be part of the 2026 program. Photo: © Art Atelier

Also featured in the 2026 program is the work of Floeur Alder and her colleagues. Alder does not live or work on a regular basis in the ACT but she has a long-standing connection with the city. She is the daughter of Lucette Aldous and Alan Alder, both of whom, after exceptional careers as performers across the world, were responsible for helping develop the tertiary dance component of the West Australian Academy of Performing Arts (WAAPA). Alan Alder was born in Canberra, took his early dance training there and went to Canberra High School. There are still various relatives of the Alder family living in Canberra so it is a pleasure to have his daughter as part of the 2026 ACT Dance Week program.

The film POINTE. Dancing on a Knife’s Edge, which focuses on Alder’s recovery from a brutal knife attack that left her badly injured, will be shown as part of the week’s activities. Adamek was especially touched by the way dance was part of Alder’s recovery process and tells me the film ‘shows how dance can be a personal story’ and that ‘it indicates that dance can be used as a form of therapy’. In addition, Alder will give a solo performance of Djilba a work created by Alder and artist Virginia Ward that combines dance, poetry and imagery.

Floeur Alder in a moment from *Djilba*. Photo: © Michael Juliff

See more about Djilba, including a trailer and a demonstration by Alder of a particular section of her choreography, at this link. Alder will also give a special class that features Boris Kniaseff’s floor barre technique, a technique admired and taught earlier by her mother Lucette Aldous.

The 2026 ACT Dance Week is brimming with surprising activities. Don’t miss them. See the full program at this link.

And below is the view from Mount Ainslie where the opening event will be held. Follow Anzac Parade from the War Memorial in the foreground, over Lake Burley Griffin to Old Parliament House then on to New Parliament House. Other significant Canberra buildings (including the High Court and the National Library) are in the image and forming the background is the beautiful Brindabella mountain range.

Michelle Potter, 7 April 2026

Dance diary. March 2026

Rafael Bonachela to leave Sydney Dance Company

Sydney Dance Company announced in March that Rafael Bonachela, artistic director of Sydney Dance Company since 2009, will leave the company in mid 2028. It was perhaps not surprising news but it certainly aroused many thoughts about Bonachela’s input into the company.

What perhaps stands out, at least from my viewpoint, was the physicality that characterised Bonachela’s choreography. Bonachela did not usually look for a narrative focus to his works. He left us as the audience to add our own thoughts about what his works meant—if indeed there was a meaning for us to absorb beyond the movement.

But there was much more to his directorship of the company than making his own dance works. His introduction of New Breed, a program that gave opportunities to emerging choreographers, was certainly a highlight as was his extensive touring. The Sydney Dance Company media release, in which much more of his input is mentioned, is at this link. A search for a new director will begin shortly.

As an aside, I had the absolute pleasure of interviewing Bonachela in 2011, which was quite early in his tenure of the job, for the National Library’s oral history program. The interview details are at this link and the Library’s summary gives an indication of the content of the interview.

Glasshouse Theatre, Queensland Performing Arts Centre

The first show to be presented at Brisbane’s newly completed Glasshouse Theatre was Queensland Ballet’s Messa de Requiem (my review of this show can be found elsewhere on this website). But I have to mention what a stunning piece of architecture the new theatre is, both outside and inside. Inside the beautifully curved areas are a delight to walk past while the stage area looks spacious and easy to dance on. The sightlines are excellent from an audience point of view, which is a real thrill. The Glasshouse is an absolute delight from every point of view.

Glasshouse Theatre, Queensland Performing Arts Centre, Brisbane. Photo: © Brian Hurst

Swan Lake Act III. Dance Theatre of Harlem (via Jacob’s Pillow playlist)

I must say I was somewhat staggered watching an excerpt from the Act III pas de deux in Swan Lake, as danced by Michaela DePrince partnered by Samuel Wilson, via a playlist on the Jacob’s Pillow website. DePrince’s arms in the 32 fouetté section are just incredible.

Watch at this link.

Press for March 2026

– ‘Dancing on impulse was a ‘pleasure to watch’.’ Review of Impulse. Australian Dance Party. CBR City News, 15 March 2026. Online at this link.

– ‘But everyone else seemed to be enjoying it.’ Review of Swan? Lauren Brady. CBR City News, 26 March 2026. Online at this link.

Michelle Potter, 31 March 2026

Featured image: portrait of Rafael Bonachela, 2026. Photo: Toby Burrows

Messa da Requiem. Queensland Ballet

27 March 2026. Glasshouse Theatre, Brisbane

’I don’t say we’re doing a ballet. I say we’re doing a production.’ Ivan Gil-Ortega giving his thoughts on Messa da Requiem

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Messa da Requiem was created by Giuseppe Verdi in 1874. It was, as program notes tell us, a work that ‘transforms the traditional Catholic funeral mass into a gripping human drama’. The current production, with choreography by German-born and trained artist, Christian Spuck, was Queensland Ballet’s first production for 2026 as part of its annual season of (usually) four strongly balletic productions.

Having Messa da Requiem as part of the annual season repertoire was something of an error of judgement, I thought, since for me Messa da Requiem was an operatic production with a bit of dancing added. Even the choreographer, Christian Spuck, says in his program notes, ‘The structure and the emotions are led and set by the music and singers.’ I would much prefer that such a production had been included as a special extra on the Queensland Ballet repertoire list rather than as part of the regular annual season format. This was even more of an issue since, for me, the highlight of the production was certainly not the choreography itself.

I was especially impressed with the way the artists (over 100 dancers and singers—mostly singers) were arranged onstage throughout the work. I’m not sure exactly who was responsible for the structural arrangement of bodies. Perhaps it was Spuck? Perhaps it was the stagers, of which there were three? Perhaps it was the set designer Christian Schmidt (although probably not)? At times when all or most of the performers were onstage together, they were grouped in two sections with one group on each side of the stage, or sometimes in a semi-circle around the whole stage area. Apart from those arrangements and depending on the music and the ideas being presented, there were moments when one singer might be seated on a chair or standing centre stage.

Singer Cassandra Seidemann in *Messa da Requiem*. Queensland Ballet, 2026. Photo: © David Kelly

There was always something of interest to see in these structures. In one early moment the performers, who were grouped on either side of the stage at this point, suddenly changed sides by running from one side to the other. It was always a pleasure, and sometimes a surprise, to see a new arrangement appear.

As for the choreography, there were one or two moments that were instantly eye catching, especially when the dancers appeared on stage without the singers, sometimes in quite small groups.

Dancers of Queensland Ballet in a moment from *Messa da Requiem*, 2026. Photo: © David Kelly

There were also two dancers whose roles were something of a mystery to me but whose performance was exceptional and in which the choreography was dramatic. Perhaps they had some connection to Judgment Day, which is one of the messages in Verdi’s music?

Clayton Forsyth and Frederick Montgomery in *Messa da Requiem*, Queensland Ballet, 2026. Photo: © DavidKelly

But mostly the choreography was expressing the notion of death and dying with the women being lifted or lowered in a prone position. Some were already dead it seemed. While this was clearly an area that related to the fact that Mess da Requiem is/was a Catholic funeral mass, it became a little tiresome, even though the dancers performed beautifully. The dancers on opening night were led by Lucy Green, Libby-Rose Niederer, Ines Hargreaves, Vito Bernasconi, and Joshua Ostermman.

Lucy Green and Vito Bernasconi in *Messa da Requiem*, Queensland Ballet, 2026. © David Kelly

Messa da Requiem generated strong and excited audience involvement. The singers were members of the Brisbane Chorale and Canticum Chamber Choir and the music was played by Queensland Symphony Orchestra. But going back to Ivan Gil-Ortega’s remark about the work not being a ballet but a production, all I can say is that there is such a thing as a ballet production with strong collaborative elements. I am thinking especially of Derek Deane’s Strictly Gershwin, and of course there have been others over recent years.

Looking at the printed program (and thankfully there was one) it was a surprise to see that the composition of Queensland Ballet, in terms of its dancers, has changed somewhat. I got the feeling that many dancers from an earlier period are no longer part of the company. I wondered why!

Michelle Potter, 29 March 2026

I was a guest of Queensland Ballet at this performance.