Compliments of the season to all those who have accessed my website, and especially to those who have added so much with their comments. I look forward to your continued patronage in the coming year.
It has been a terrific year so far in Canberra as the city has celebrated its centenary, and I have also been fortunate to have seen some wonderful dance elsewhere in Australia and around the world. But I have no hesitation in naming my two favourite shows for 2013 as Yuri Possokhov’s Rite of Spring for San Francisco Ballet, and what a wonderful company SFB is; and Garry Stewart’s Monument for the Australian Ballet as a Canberra Centenary event. And as for the latter, what a shame it is that other States will not see it in 2014. I fear it will just slip into oblivion, which seems like a shocking waste to me.
As for dancers, I have loved watching the Australian Ballet’s Eloise Fryer in various roles throughout the year, especially as Dumpy in Alexei Ratmansky’s Cinderella. And I never tire of watching Sydney Dance Company’s Chen Wen seen below in Rafael Bonachela’s 2 one another.
I have a number of dance activities coming up in 2014, news of which I will keep until my December dance diary. In the meantime may the coming festive season be filled with happiness.
7 December 2013 (matinee), Joan Sutherland Theatre, Sydney Opera House
Taking a second look at Alexei Ratmansky’s Cinderella was something of a swings and roundabouts experience. The gains were special, the losses of course a little disappointing.
Seeing Leanne Stojmenov as Cinderella and Daniel Gaudiello as the Prince after they had performed those roles over and over in Melbourne and again in the first few Sydney shows indicated how well they had grown into their parts. Their pas de deux in particular were seamless, expressive and beautifully executed with hardly a slip anywhere. Gaudiello once again showed what an exceptional artist he is as he fell head over heels for his Cinderella, and what a good technician he is as well.
Stojmenov’s dancing showed how much she had absorbed the choreography into her very being. The beautiful way in which she conveyed the subtlety and nuances of Ratmansky’s vocabulary was an absolute delight. In particular she had captured the beauty and fluidty of Ratmansky’s arm movements with their distinctive swing and sway through space, and I also especially enjoyed her solo in the last act where she recalled the time she had with her Prince at the ball in the previous act.
I was also interested to hear David McAllister, in his public program conversation with David Hallberg after the show, that Ratmansky used the word ‘say’ rather than ‘do’ when setting his choreography on the dancers—‘you go over there and say such and such’. His emphasis on expression rather than simply execution is a sure reason why all the cast, but Stojmenov in particular, carry the storyline of Cinderella so well.
Another gain was seeing Eloise Fryer—there was an unexpected cast change announced just before the curtain went up—as the Dumpy Stepsister. She has a terrific sense of comedy and carried off the awkward and often hilarious choreography with great style. It was a huge romp and Ingrid Gow as the Skinny Stepsister really had to work hard to keep up with her.
The biggest loss was having to fit the show onto the stage of the Opera Theatre. I try not to make too many comments in this vein as it does nothing in the end. But in the case of Cinderella it resulted in a real loss I thought. The theatrical trick of a proscenium arch within a proscenium arch that was so clear in Melbourne was scarcely apparent in Sydney and the crammed-up feeling of the domestic scenes was unfortunate. And, while memory plays tricks I know, it seemed to me that Gaudiello’s choreography had been cut in the scenes where he travels the world searching for the owner of the slipper. Maybe I just missed some of those grands jetes in a circle and the spectacular finish where he jumped into the arms of his cortege of male friends. I’d be more than happy to be corrected!
I also missed Lynette Wills as the Fairy Godmother. While Jasmin Durham did a perfectly good job in the role, Wills brought a wide experience to her performance giving the role a strength of characterisation and sense of mystery that was missing in Sydney. I had also been looking forward to seeing once more those characters from the solar system who transport Cinderella to the ball but, while being closer had its advantages, the costumes are quite remarkable, being closer also made the sequence look a little too jumbled—too many characters that were too hard to identify individually.
But more than anything I thought the magical transformations that made the Melbourne opening so spectacular were lessened in Sydney. I was further back in the auditorium in Melbourne so maybe that had an effect but I suspect it was something else.
Nevertheless, Cinderella remains in my mind a very classy, strongly European-looking, beautifully-lit production that I look forward to seeing again and again.
Michelle Potter, 8 December 2013
My original post, and a healthy variety of comments from others, is at this link. See also my comments on David Hallberg’s performance as the Prince published by DanceTabs.
13 April 2013 (matinee), Joan Sutherland Theatre, Sydney Opera House
My single viewing of the Australian Ballet’s current production of Don Quixote was entertaining, if not theatrically thrilling.
I enjoyed seeing Reiko Hombo and Yosvani Ramos in the leading roles of Kitri and Basilio. The male jota-style variation in Act I suited Ramos beautifully and showed off his neat footwork and the lightness of his jump. His portrayal of Basilio worked really well in Act III when his ‘death’ scene captured a certain craziness and was quite hilarious. But I missed a sense of passion in his encounters with Kitri.
Hombo performed nicely and her technical execution was precise and clear. But again I missed the fiery quality I associate with Kitri and I felt the consequent lack of a strong emotional connection or a sense of physical repartee with Basilio.
What I really liked about the production was the characterisation of the Don, played by Steven Heathcote; Sancho Panza, the Don’s squire played by Frank Leo; and the wealthy Gamache, played by Matthew Donnelly. At last here was an approach that didn’t seem to think that over-the-top behaviour was necessary in these kinds of roles. All were still strong individuals demanding of our attention and thoughts but without the ridiculous pantomime elements that for me went out of fashion years ago.
Amongst the corps and soloists I admired Brett Chynoweth as one of the leading townsfolk, Dana Stephensen as one of Kitri’s friends and Eloise Fryer as Amour. Both Stephensen and Fryer looked wonderful onstage. They were technically assured and dancing as if they loved it. No Don could have resisted Fryer’s arrows! Chynoweth was full on into the action at every moment.
It’s a hard act, still, to follow in the footsteps of Rudolf Nureyev and Lucette Aldous and the cast that made up the first Australian Ballet production way back in the 1970s. But some have followed on brilliantly since then, and maybe some casts that I didn’t see in this season did in fact inject some of the fiery and passionate give and take that makes this ballet a bit more than just interesting entertainment. The subscriber I sat next to yesterday was singing the praises of Lana Jones and Daniel Gaudiello.
And for those who weren’t even born in the 1970s that first Don Q is still available on DVD as a digitally remastered version of the original film.
18 September 2012, State Theatre, Victorian Arts Centre, Melbourne
Stephen Baynes wanted his new Swan Lake for the Australian Ballet to reflect, as he put it in his notes, the ‘deeply Romantic aesthetic’ of Tchaikovsky’s score. A singularly musical choreographer, Baynes has succeeded in creating some absorbing, and often romantic in the wider sense of that word, choreographic moments. They come in particular in Act I with Baynes’ overall treatment of this act; in his newly conceived opening section of Act II when Siegfried first encounters Odette; and in an inserted pas de deux for Odette and Siegfried in Act IV.
In Act I Baynes’ choreography is beautifully paced. It fills out every note of the music, brings a real freshness to the dances and makes this opening act full of human interest. Ty King-Wall, Lana Jones and Dana Stephensen as Benno, the Countess and the Duchess respectively danced a thrilling pas de trois (or was it a pas de cinq since two other men joined King-Wall at one stage?). The meeting between Siegfried and Odette was a meeting between two human beings rather than a prince and a frightened swan protecting her brood and the choreography sank and rose in sighing movements. The inserted pas de deux too was Baynes at his best and is just what the last act needs, a final intimate encounter between Odette and Siegfried.
There was a new energy in the corps de ballet too. Perhaps it is a new production that has generated a precision in the work of the corps that I haven’t seen recently? Perhaps it is that the company has a new ballet mistress and repetiteur in Eve Lawson? Whatever the reason, it is a treat to see the dancers moving together so well.
Most of Act II, however, is classical (in the Ivanov manner) as Baynes has kept a lot of the choreography from older productions so as to keep this famous white act recognisably traditional. Amber Scott as Odette seems on the surface to be perfectly suited to the role. Her body is proportioned in true classical ballerina style and her technique is clean and centred. But Act II seemed to me to exude a particular coldness. I’m not sure whether the lack of passion was a result of Baynes and Ivanov (or ‘after’ Ivanov) being mixed together, or whether Scott and her Siegfried, Adam Bull, just weren’t reacting to each other in an emotional sense. There was just one moment in the pas de deux when Scott moved from supported arabesque to attitude and her foot seemed to caress Bull’s back as the leg bent into attitude and wrapped around Bull. But it was gone in a flash and it was the only time I thought there was an emotional connection between them. There were, however, lovely performances from the four little swans and from the leading swans, danced by Juliet Burnett and Amy Harris.
Act III had a little more emotional power and Bull finally seemed to overcome his depression, which admittedly was what we were intended to see as his mood, as he declared his love for Odile. Rothbart, played by Brett Simon sporting carrot-coloured hair, was a surprise arriving as he did with a retinue of Spanish dancers, and a Russian dancer and four Cossacks. His personality was further established as he sat on the throne next to the Queen (Lisa Bolte), engaging her in conversation. But again the recognisable pas de deux and variations from what we know as the traditional version seemed to me to intrude.
There is much else to say about this new production—the development of the role of Benno and others in Act I; the importance of Siegfried; the designs; the projections of a swan/menacing figure (Rothbart?); the funeral with which the work begins and much more, which I hope to consider in future posts. I wondered whether the work would have benefitted from having a dramaturge work with Baynes and designer Hugh Colman as there were times when I wondered who was who and what was happening—Rothbart’s lifting of a limp Siegfried from the lake as, in the final moments, Rothbart sailed by standing resplendent in a mechanical swan was a surprise as there was no previous indication that I saw that Siegfried had thrown himself in the lake. But it needs more than one viewing to be able to give an informed account and in depth critical analysis. At the moment I feel that leaving some traditional choreography was a mistake and that this Swan Lake would have worked better for me had it all been Baynes.