The Lady of the Camellias. Shanghai Ballet

5 December 2024. Lyric Theatre, Queensland Performing Arts Centre, Brisbane

I have had the good fortune over the years of seeing two spectacular productions with choreography by Derek Deane—Strictly Gershwin in two presentations from Queensland Ballet, one in 2016 and the second in 2023; and an English National Ballet production of Deane’s Swan Lake in 2011. Both left me staggered and wanting more. I wish I could say the same about The Lady of the Camellias danced by Shanghai Ballet and presented in a Brisbane exclusive by Queensland Ballet.

On a positive note, the design of both costumes and sets from Adam Nee was exceptional—a real visual treat. There was one scene in Act I that took place in a theatre and the curtained backcloth was just stunning and made this particular aspect of the narrative not only obvious but breathtaking. Then there were the several backcloths showing slightly abstract floral designs (camellias?), which also attracted one’s attention. In addition, the dancing was outstanding from all the Shanghai dancers. It was a thrill to watch their lyricism, especially in the beautiful use of the arms and upper body, the elevation of both men and women, and the perfection in the execution of the choreography. Unfortunately, however, even though the physicality was there, I didn’t always feel a strong emotional involvement between the dancers in what is a very emotional story.

With one or two exceptions, in particular a lovely pas de deux between the two main characters, Marguerite and Armand, while on holidays beachside, I found Deane’s choreography on this occasion somewhat unimaginative—it reminded me of the 1950s or 60s. Such a shame given that we have been used to seeing some quite outstanding contemporary ballet here recently from choreographers such as Christopher Wheeldon with Oscar for the Australian Ballet and, for Queensland Ballet, Coco Chanel, from Annabelle Lopez Ochoa. And this is not to mention recent work from Alice Topp, Loughlan Prior and others.

Wu Husheng as Armand Duval and Qi Bingxue as Marguerite Gautier in *The Lady of the Camellias*, Shanghai Ballet, 2024.

Then there is the storytelling aspect of The Lady of the Camellias. The Deane production looked at the society in which the story unfolded as well as the connections between the main characters. But there were times when it was not easy to tell who was who and what exactly the relationships between the various characters were as more and more people filled the stage. Perhaps, in order to be swept away by the Deane production, we are (or I am) too used to Frederick Ashton’s Marguerite and Armand, with the story stripped back to its basic elements, which thus more easily exposes a deep emotional content.

For me The Lady of the Camellias was something of a disappointment.

Michelle Potter, 7 December 2024

Featured image: Dancers of Shanghai Ballet in a scene from The Lady of the Camellias, 2024

Queensland Ballet in 2024

Queensland Ballet has unveiled its plans for 2024 and those plans suggest that the year will be a magnificent parting gift to audiences from outgoing artistic director Li Cunxin AO. The works come from a range of choreographers, including Annabelle Lopez Ochoa, Ben Stevenson and Liam Scarlett, along with the company’s own Greg Horsman and Matthew Lawrence and a number of other Australian artists, including Jack Lister and Wakka Wakka/Kombumerri choreographer Katina Olsen.

Perhaps the most intriguing work in the season is Coco Chanel. The Life of a Fashion Icon, intriguing perhaps because its choreographer, Belgian-Columbian Annabelle Lopez Ochoa, is not so well-known in Australia, despite the fact that she has worked for a myriad of companies in the northern hemisphere. It will be seen in Brisbane from 4–19 October and is described by Queensland Ballet as ‘transporting audiences back to Jazz Age Paris’ and as ‘a full length narrative ballet steeped in realism and beauty.’

Yanela Piñera as Coco Chanel in a study for *Coco Chanel. The life of a fashion icon*. Queensland Ballet, season 2024. Photo: © David Kelly

Li Cunxin remarks that he has been an admirer of Ochao’s work for some time. He has seen her works in many situations and on many companies and especially recalls being thrilled watching one of her productions in rehearsal in Cuba on a visit there a few years ago. At my suggestion that Chanel was often a controversial figure, he says, ‘I am familiar with how Annabelle shapes and layers her works and Coco Chanel explores more than Chanel’s career as a fashion designer. But it does not glorify her work and is more a reflection of the times in which she lived.’ Li also admires her approach to collaboration saying, ‘She is daring when it comes to collaboration and is always seeking new talent in different areas.’

Coco Chanel is a joint production between Queensland Ballet, Hong Kong Ballet and Atlanta Ballet. Others of the 2024 offerings are also joint productions, including a much-anticipated revival of Liam Scarlett’s astonishing and truly beautiful production of A Midsummer Night’s Dream (12–27 April), ‘brimming with mischief and mayhem’ as the media release rightly says; and Greg Horsman’s Australianised production of Coppélia (7–22 June).

Li is enthusiastic about the advantages of of joint productions. ‘It’s a win/win situation,’ he says. ‘It is a sharing of costs and it also develops the spirit of collaboration with artists being exposed to different practices, different approaches.’

Horsman’s production of Coppélia was first staged in 2014 and is a joint production with West Australian Ballet. I didn’t see it in 2014 but Li tells me it is an innovative work that connects to Australia’s migrant history. Set in Hahndorf, South Australia, in the late 19th century, it tells the story of a German migrant—he represents Dr Coppélius—who has lost his daughter on the boat trip from Europe and who tries to recreate her in Australia. But, Li tells me, ‘Greg is respectful to the Coppélia we all know and keeps a number of the classical parts of the original choreography.’

Lucy Green in in a study for *Coppélia*. Queensland Ballet, season 2024. Photo: © David Kelly

Queensland Ballet’s seventh Bespoke season will take place 25 July–3 August and will comprise works by Katina Olsen, Milena Sidorova (a Ukrainian-Dutch choreographer), and Jack Lister, while the company’s Queensland Ballet on tour will be expanded to include Queensland Ballet at home. The ‘at home’ season is a new initiative given that the company now has its own home in the Talbot Theatre. It will feature a work by the current ballet master, Matthew Lawrence, with the somewhat surprising title of Tchaikovsky Mash. Lawrence’s work was first shown at the Noosa Alive Festival 2023 and Li speaks enthusiastically about it saying that Lawrence has creative ideas and is very musical. The ‘at home’ show will include Ben Stevenson’s Three Preludes, the pas de deux from Le Corsaire and Horsman’s A Rhapsody in Motion.

The year will conclude with the Christmas favourite Ben Stevenson’s The Nutcracker. But as a bonus extra Queensland Ballet is presenting Derek Deane’s The Lady of the Camellias performed by Shanghai Ballet in Brisbane 5–8 December.

Artists of Shanghai Ballet in The *Lady of the Camellias*

Li’s replacement as artistic director has not yet been announced but the news of who it will be is likely to be known in the not too distant future. Of the future of Queensland Ballet Li has remarked: ‘I look forward to witnessing the journey of this aspirational company as it continues to share the beauty of dance with as many people as possible throughout Queensland and beyond.’

For full 2024 season information see this link.

Michelle Potter, 23 October 2024

Featured image: Chiara Gonzalez. Queensland Ballet, Season 2024. Photo: © David Kelly

Strictly Gershwin (2023). Queensland Ballet and collaborators

28 September 2023. Lyric Theatre, Queensland Performing Arts Centre, Brisbane

Absolutely stunning!

From the brilliant performances by the dancers—in ballet, tap, ballroom and other forms—to the exciting and emotionally moving sound of the orchestra and singers (all onstage); from the lighting that made the whole look as if being performed within a second proscenium, to the background screen featuring assorted references to the Gershwin era, Strictly Gershwin was probably the most thrillingly presented and spectacularly performed show I have seen this year

Choreographed by Derek Deane in 2008 for English National Ballet and first presented by Queensland Ballet in 2016, Strictly Gershwin pays tribute to brothers George and Ira Gershwin and their contribution to the ‘big band’ era of the 1930s. In his program notes Deane remarks on the pleasure he experienced in being able to create the work: ‘I was free from the restrictions of the purely classical ballets and was able to experiment more choreographically with all the different dance styles in the production.’ And it is partly this diversity of dance styles that makes the production so fascinating.

Deane does, however, admit to including ‘two complete small ballets’ in the total show, one of which, Rhapsody in Blue, provided two highlights for me. Rhapsody in Blue opened part two of the production, ‘Gershwin in Hollywood’. Rhapsody was made for three couples and a corps de ballet and I was especially impressed with the women in the corps whose beautifully held upper bodies, tilted back slightly when they were in a kneeling position, and their ability to dance almost perfectly together, was outstanding. But the absolute standout dancer was the leading male dancer in Rhapsody, Patricio Revé. He partnered Neneka Yoshida and, whether in his partnering or in his solo work, he was absolutely committed to making every move full of meaning and emotion. The variety of his physical and facial expressions throughout was exceptional and it was hard to take my eyes off him.

Patricio Revé in *Rhapsody in Blue*, 2023. Photo: © David Kelly

But of course there were many other highlights. The two tap dancers, Kris Kerr and Bill Simpson, who also appeared with Queensland Ballet in 2016, were as amazing as ever and their performance with Rachael Walsh and ten other dancers in Oh, Lady be Good was another highlight.

Rachael Walsh (centre) and tap dancers in *Oh, Lady be Good*, 2023. Photo: © David Kelly

I have to mention, too, Lina Kim and Rian Thompson who danced so well together in Someone to Watch Over Me (as they also did in 2016). Their lyricism throughout and the beautiful lifts they performed, unexpectedly different from what we might be used to seeing, made watching them such a pleasure and, with the added singing of Nina Korbe standing at the side of the stage, it was a special collaborative section.

Rian Thompson and Lina Kim in *Someone to Watch Over Me*, 2023. © David Kelly

So many other special moments: Mia Heathcote throughout, Georgia Swan and Vito Bernasconi in Shall We Dance?, Yanela Piñera and Camilo Ramos (also from the 2016 cast) in the sexy It Ain’t Necessarily So, and so many others…

Yanela Piñera and Camilo Ramos in *It Ain’t Necessarily So*, 2023, © David Kelly

The music for Strictly Gershwin was played by Queensland Symphony Orchestra with a solo piano section in Rhapsody in Blue from guest artist Daniel Le. The costumes, every one of which was eye-catching to put it mildly, were by Roberta Guidi di Bagno and Howard Harrison’s original lighting was revived by Cameron Goerg and Ben Hughes. Then there was the conductor, Michael England, who often danced along himself (while still conducting). What a show! How lucky we were to be able to see it again!

Michelle Potter, 29 September 2023

Featured image: Lucy Green and Victor Estévez (centre) with Georgia Swan and Vito Bernasconi, and Laura Tosar and Alexander Idaszak in the opening scene from Strictly Ballroom, 2023. Photo: © David Kelly

Strictly Gershwin. Queensland Ballet (2016)

27 May 2016, Lyric Theatre, Queensland Performing Arts Centre, Brisbane

Derek Deane made his Strictly Gershwin for English National Ballet in 2008 when it was shown in London’s cavernous Royal Albert Hall. I have to admit I wondered how it would look on Queensland Ballet in the rather more confined space of Brisbane’s Lyric Theatre. Well I need not have worried. It looked spectacular!

Strictly Gershwin is a show in the true sense of the word—an impressive spectacle. It highlights all kinds of dance from ballet to tap to the charleston. It has an onstage jazz orchestra, largely consisting of musicians from Queensland Symphony Orchestra conducted by a very charismatic Gareth Valentine, and musically it is enhanced by the presence of some outstanding vocalists. It has eye-catching, Hollywood-style lighting and razzle dazzle costumes. And Queensland Ballet is augmented by special guest dancers, a corps of tap dancers and a larger corps of pre-professional dancers. It was some feat to bring this show together. The stage looked a little crowded only occasionally, and a few opening night problems and fumbles will, I am sure, be ironed out in later performances. The audience reaction was loud and appreciative throughout, especially for lead tappers, Kris Kerr and Bill Simpson, with a standing ovation for all at the end.

As the name implies, the show celebrated the music and lyrics of George and Ira Gershwin, from works made for film and musicals to concert hall compositions. The fun begins with the overture in which Valentine displays his dancing skills in addition to his skills with the baton. But the big number from the first half of the program for me was ‘Shall we dance?’ which, with its glamorous black, white and sparkling silver costumes, and its images of Fred Astaire and Ginger Rogers that are flashed onto an upstage screen, reminded us of those great Hollywood movies of the 1930s. Led by Clare Morehen and Christian Tátchev, it was distinguished by a wonderful range of choreography from quite formal ballroom-style partnering and poses to fast jitterbug moves. What a versatile company of dancers we saw.

In the second half the standout number for me was another big one, ‘Oh, lady be good’, featuring tappers Kerr and Simpson along with Rachael Walsh making a return appearance with Queensland Ballet. They were joined by a guest corps of tap dancers and each and every dancer shone, sparkled and smiled from beginning to end. Such a pleasure to watch.

Overall, my pick of the dancers on this occasion was Lina Kim, beautifully fluid and partnered strongly by Rian Thompson in ‘Someone to watch over me’. She appeared at other times in less featured roles throughout the evening and showed off some fabulous footwork and dancing that carried me away with pleasure as I watched her joyous dancing. I was also swept away by the tango-esque choreography of ‘It ain’t necessarily so’ danced by Yanela Piñera and Camilo Ramos, both perfectly cast to bring a slinky sexuality to the choreography. Then there was Mia Heathcote and Shane Wuerthner in an apache-style duet to music from ‘An American in Paris’. Gorgeous choreography here too especially those subtle changes to the placement of the legs as Heathcote was lifted, turned, lowered and twisted by Wuerthner.

Perhaps the one section that seemed a little messy was the Paris scene. It showed off such a range of characters—people riding bikes, nuns, circus people, characters on roller skates, the full gamut of Parisian characters—that the stage seemed overpopulated to me. Perhaps this was where the Albert Hall was needed? But Strictly Gershwin is a fabulous show, filled with great music and dancing, and an event to be enjoyed rather than analysed. Definitely a major coup for Queensland Ballet.

Michelle Potter, 29 May 2016

Featured image: Promotional image for Strictly Gershwin. Queensland Ballet, 2016

Swan Lake. English National Ballet (2011)

The English National Ballet has just concluded a season of Swan Lake that can only be described as a triumph. As much as I admire, and love watching Graeme Murphy’s production of Swan Lake, and this is the Swan Lake Australians now see regularly, there remains deep down a craving for the traditional version, and this is just what ENB delivered.

ENB’s current Swan Lake is choreographed by Derek Deane. This season gave us not his probably better known in-the-round version seen in Australia some years ago, but a glorious, dramaturgically strong, proscenium version that moved from palace to lakeside and back again capturing attention from the moment the curtain rose until it fell.

A beautifully rehearsed and coached corps de ballet danced to perfection in the white acts, moving as one and conjuring up a sense of another world. The dancers were just as impressive as courtiers, always aware of the underlying narrative, never standing around uncertain of how to behave. From a more technical point of view, the corps demonstrated in particular just how expressive the upper body can be when actually used. Such fluidity above the waist seems a little rare to me these days.

As well as dancing brilliantly, the soloists and principals brought to the stage quite outstanding skills of characterisation. This was a production where Rothbart was a significant character (not always the case) and the relationship of Rothbart, Odette and Siegfried to each other was powerfully realised to the extent that I sat on the edge of my seat agog as the final act unfolded. This last act, which so often disintegrates into nothing more than a pretty finale, had great dramatic intensity as Odette struggled against the opposing forces that Rothbart and Siegfried represented.

I saw two casts and was most affected by the cast led by Vadim Muntagirov as Siegfried. Muntagirov, still a very young artist, dances with so much care for the details of ballet technique. He moves with elegance, he executes jumps with the lightness and grace of a panther, and his turns and tours en l’air are beautifully placed and yet exude bravura. In his solo in Act I where he ponders his predicament as a young man, who has been told he must marry but who yearns for something he can’t quite yet articulate, he displayed his refined line and his ability to show emotion through technique.

Muntagirov partnered a very secure Daria Klimentova as Odette/Odile—fragile as Odette, cunning and ultimately triumphant as Odile. Rothbart was danced with flair by Fabian Reimair. Others who stood out to me included Shiori Kase in the Act I pas de quatre at both performances I saw, and Esteban Berlanga who acquitted himself well as Siegfried in the second cast partnering Erina Takahashi.

Apart from having the pleasure of watching some really good technical dancing, and seeing a company so well rehearsed and coached, the greatest joy was seeing a performance that gave full reign to Swan Lake’s brooding Gothic character. Peter Farmer’s design helped but nothing can take the place of intelligent staging. Many bouquets to ENB. Is ballet dead? Certainly not at English National Ballet.

Michelle Potter, 3 April 2011