Artists of The Australian Ballet in 'The Dream'. Photo: Daniel Boud

The Dream. The Australian Ballet

29 April 2015, Joan Sutherland Theatre, Sydney Opera House

There were peaks and troughs in the Australian Ballet’s second program for 2015, a triple bill of works by Frederick Ashton. There were also a few surprises.

The undoubted highlight was The Dream, which was also used as the overarching title for the program. We have been told over and over that Ashton was a genius, and many aspects of his work that support that idea were apparent onstage in The Dream, Ashton’s take on Shakespeare’s Midsummer Night’s Dream. Most obvious is the incredible way in which Ashton is able to make a story so clear through movement and mime. No need to know the story beforehand. Everything is comprehensible and coherent. The entire cast of The Dream is to be congratulated for the way they handled Ashton’s approach, and bouquets to the two gentlemen who staged the work—Anthony Dowell and Christopher Carr.

Then there is Ashton’s complex choreography with all its tricky steps, swirling arms, fluid upper body, unexpected combinations, and so forth. Madeleine Eastoe as Titania was superbly in control and made even the trickiest of movements look easy. Her solo with its many hops, turns, swoons and swirls was captivating. And the final pas de deux between a reconciled Titania and Oberon (danced by Kevin Jackson) was a delight. Their partnership has grown into one from which we now expect, and receive, nothing but the best.

Chengwu Guo as Puck and Kevin Jackson as Oberon in Frederick Ashton's 'The Dream', the Australian Ballet, 2015. Photo: Daniel Boud — Chengwu Guo as Puck and Kevin Jackson as Oberon in Frederick Ashton’s *The Dream*, the Australian Ballet, 2015. Photo: © Daniel Boud

Chengwu Guo was a standout as Puck. I continue to gasp at his beautifully controlled multiple turns, his leaps, his beats. But best of all those amazing technical skills were, on this occasion, put to such good use. They combined perfectly with his particular brand of physicality, and with his personality, to advance the story. Guo was as puckish as they come.

Joseph Chapman delighted the audience as Bottom, the crazy mechanical who wears the head of an ass, courtesy of Puck, and who dances on pointe. His characterisation was strong and maintained consistently and, unbelieveably, he was believable. He was the one everyone was talking about as they left the auditorium.

Madeline Eastoe as Titania and Joseph Chapman as Bottom in Frederick Ashton's 'The Dream', the Australian Ballet, 2015. Photo: Daniel Boud — Madeline Eastoe as Titania and Joseph Chapman as Bottom in Frederick Ashton’s *The Dream*, the Australian Ballet, 2015. Photo: © Daniel Boud

The corps de ballet had been beautifully rehearsed and nothing was forgotten of the Ashton style—head and arm movements especially. And take a bow Benedicte Bemet as Moth. To me she looked like a born Ashton dancer. But then I think she is just a born dancer.

That’s where the peaks ended I’m afraid!

The first half of the program consisted of Monotones II and Symphonic Variations. Monotones II, danced by Natasha Kusen, Brett Simon and Jared Wright, has not really stood the test of time for me. It looked quite outdated and very static. As for Symphonic Variations, could it really be the same ballet I was lucky enough to see in London last year danced by the Royal Ballet? As the curtain went up I got a thrill to see Robyn Hendricks and Cristiano Martino looking stunning as the lead couple—elegant with proud bearing promising much. But where was the ‘sensational twenty minutes of unstoppable beauty’ that I saw in London that set my heart singing? The dancing was all over the place, technically beyond the experience of one or two of the dancers, and with little feeling for the spacing and floor plan of the work. A huge disappointment as far as I am concerned.

As for the surprises, well one was pleasant, one wasn’t. Why on earth did the cast sheet say that the performance of Symphonic Variations was ‘The world-premiere performance’? The ballet was made in 1946. But a pleasant surprise came at the end of The Dream as the entire cast was taking its final curtain. The Australian Ballet’s ingrained manner of acknowledging the orchestra during the final curtain call by coming forward and leaning into the orchestra pit and clapping for an inordinate amount of time was gone, thankfully. Instead, the company moved forward, stood in poses that maintained the mood of the work they had just danced and, with an elegant sweep of one arm to the side, acknowledged the orchestra. The integrity of the dance was maintained and the company looked stylish and dignified. Thank you to whomever decided to dispense with what we have been watching over several years now, which I find crass. May this new-found elegance in curtain calls continue.

Michelle Potter, 30 April 2015

Featured image: Artists of the Australian Ballet in Frederick Ashton’s The Dream, 2015. Photo: © Daniel Boud

A second look at this program is at this link.

Ashton mixed bill. The Royal Ballet

18 October 2014 (evening), Royal Opera House, Covent Garden

The prospect of four works by Frederick Ashton on the one program is something that fills those not brought up in an Ashton environment with anticipation. Of the four works on the Royal Ballet’s recent program, Scènes de Ballet, Five Brahms Waltzes in the Manner of Isadora Duncan, Symphonic Variations and A Month in the Country, I had never seen Five Brahms Waltzes and had seen the others on only one previous occasion each.

Symphonic Variations, led by Marianela Nuñez and Vadim Muntagirov supported by Yasmine Naghdi and James Hay and Yuhui Choe and Tristan Dyer, perhaps moved me most. What clarity and fluidity those six dancers brought to the work. It was a breathtaking performance where everyone was a star, although perhaps it was Muntagirov, with his elegant bearing and his exceptional technical accomplishments, who attracted my attention most. But the ballet as a whole was beautifully danced to an elegant rendition by pianist Paul Stobart of Cesar Franck’s Symphonic Variations. And I had forgotten how fresh and entrancing Sophie Fedorovitch’s decor is—a spring green, box-like space with fine black lines weaving a flowing pattern across the backdrop and flats. It was a sensational twenty minutes of unstoppable beauty of movement. No in depth analysis can ever do it justice.

Five Brahms Waltzes was danced by Helen Crawford, replacing an injured Lauren Cuthbertson. The sense of gravity and weight in her dancing in the first and second waltzes contrasted nicely with her performance of the third waltz in which she manipulated a soaring rectangle of silk. Equally impressive was the contrast between a somewhat fierce fourth waltz and the gentle fifth with its rose petals falling liberally from her arms. I loved too the contrast between those light skips à la Isadora and the lower, almost crouching poses with fists clenched that appeared every so often. It was a finely thought through performance.

Scènes de ballet, which opened the program, was distinguished by the presence of Sarah Lamb as the ballerina. The quality of her dancing was especially noticeable in her main solo with its loosely swinging wrists and arms and lyrical movement of the whole body. But this ballet really needs to have every performer dancing with exactness. I missed straight lines, equal spacing and sameness in height of legs. The geometry of the work falls apart without such precision. And it was a disappointment to see Steven McRae, who partnered Lamb, begin with such promise—those sharp turns of the head and the pride with which he held his upper body were mesmerising—only to falter often as the work progressed.

The program closed with A Month in the Country and I found myself swept along by a strong performance from Zenaida Yanowsky as Natalia Petrovna and by Ashton’s ability to define characters through movement. The young, the old, different levels of society, everything was there in the choreography.

It was a real pleasure to see four quite different Ashton works brought together in one program but it was curious to see how those little runs on pointe kept appearing over and over. I was almost waiting for the next one by the time we reached A Month in the Country.

Michelle Potter, 22 October 2014

International Gala 2011. Queensland Ballet

Asaf Messerer’s brief pas de deux, Spring Waters, was first seen in Australia around five decades ago when the Bolshoi Ballet visited the country. Then it was the most technically exciting pas de deux most people had ever seen. Now those high lifts with the man using just one arm to hold his partner aloft, and the sight of a female dancer throwing herself through the air into the arms of her partner, are not so rare. But Spring Waters remains a delight and its inclusion on the Queensland Ballet’s 2011 International Gala was something of a treat. Despite having to perform it to what sounded like an ancient recording, two of the guests artists who joined the dancers of Queensland Ballet for the gala, Ambra Vallo and Tyrone Singleton from Birmingham Royal Ballet, danced it with just the right sense of youthfulness and joy.

Vallo and Singleton also danced the pas de deux from Frederick Ashton’s Two Pigeons. This charming yet elegant pas de deux was a reminder that choreographers whose voice is distinctive are rare and precious. It was a joy to watch Ashton’s placement of the two dancers in relation to each other, often in unexpected but always harmonious juxtapositions.

Other works on the program were not so well served by international performers, or by their choreographers. Two very youthful dancers from Singapore Dance Theatre made a brave effort with the final pas de deux from The Sleeping Beauty. Kenya Nakamura as the Prince was inflexible in the upper body and very nervous. It meant that his performance was stilted and wooden. His partner, Tomoko Takahashi, had a lovely smile and was technically capable of executing the steps, but her performance suffered from inadequate partnering.

Two dancers from Berlin’s Staatsballett, Krasina Pavlova and Rainer Krenstetter, each had a solo on the program, although Krenstetter’s solo, Barocco by Renato Zanella, was little more than a series of poses. They also danced together in Grand pas classique, choreographed by Victor Gsovsky. Their performance in this pas de deux with variations in the traditional manner needed much more vivacity than we were given. I think both dancers needed to be reminded that dance happens with the human body and thus is inherently sexy (if not necessarily overtly sexual), especially if it is a pas de deux. There was little engagement between Krenstretter and Pavlova in Grand pas classique, and little engagement with the audience other than an occasional, unwarranted look of triumph on completion of certain steps. A great disappointment.

Probably the most interesting, and certainly the most anticipated work on the program was Nils Christe’s Short Dialogues, a new work for three couples. Set to music by Philip Glass, Christe’s choreography is ‘of the moment’. Bodies wrap around bodies and stretch into seemingly impossible positions, Visually it is often hard to disentangle one body from another. The work was expertly performed by Clare Morehen and Keian Langdon, Meng Ningning and Hao Bin formerly of the National Ballet of China but now dancing with Queensland Ballet, and Rachael Walsh and Christian Tátchev. And while the choreography and its performance were impressive, what made this work really stand out for me was the lighting design by David Walters. It gave the work an almost liquid quality: Short Dialogues seemed to pass before our eyes like an unexpected breeze—here one minute, gone the next.

At this International Gala the strongest performers were rarely the international guests but rather the dancers of Queensland Ballet. Apart from the execution of Christe’s slick, contemporary choreography, they also showed their theatricality in François Klaus’ Overture and Finale. His choreography for the opening and closing sequences of the gala had overtones of a contemporary commedia dell’arte and the dancers responded in a manner that was beautifully playful and slightly humorous. Noelene Hill’s pert red and orange costumes, including the cheeky frill on the women’s costume and the equally cheeky short shorts that were part of the men’s outfit, were perfect in carrying through the style.

The dancers carried their ability to move between diverse choreographic styles into Rosetta Cook’s homage to the tango, Hall of Flame, a work dedicated to former artistic director of Queensland Ballet, Harold Collins, who died just a week before the gala. I especially admired Kathleen Doody in Hall of Flame. She gave a cool, sophisticated reading of her character in a slightly over-long work that required cameo performances from each dancer.

Galas are always touch and go events. Unless the performers and the choreography are exceptional, and this was not always the case with this gala, such occasions are inevitably beset with problems of uneven quality and interest, as was the case.

Michelle Potter, 8 August 2011

La Valse; Invitus, Invitam; Winter Dreams; Theme and Variations. The Royal Ballet

15-30 October 2010. Royal Opera House, London

Frederick Ashton’s La Valse—what a swirlingly beautiful opening to the Royal Ballet’s recent mixed bill program. Ashton’s choreography seemed slightly idiosyncratic with its unexpected shifts in épaulement, swift lifts of the arms, quick bends of the body and a range of nuanced movement. Yet it was perfectly attuned to the changes of colour and rhythm in the Ravel score. In addition, the Royal Ballet dancers performed with such aplomb and brilliant attack not to mention a beautiful classical technique based, as it should be, on turned-out, centred movement.

The two works that followed were both exceptional distillations of involved narratives. Kim Brandstrup’s new work, Invitus, Invitam (Against his will, against her will) essentially compressed Racine’s play Bérénice into three pas de deux, while Kenneth MacMillan’s Winter Dreams distilled Chekov’s work The Three Sisters into one dramatic act.

In Racine’s version of part of Suetonius’ history of the Roman emperors, Titus is forced by the senate to send Bérénice, his mistress, away, against her will and against his will. In Brandstrup’s work we see three encounters between Titus and Bérénice: in the first Bérénice is aware that Titus has a concern that he is not speaking openly about; in the second Bérénice knows what is to happen and is devastated, as is Titus; and in the third they part in mutual sorrow. Leanne Benjamin is perfectly cast as Bérénice. All her maturity as an artist comes to the fore as the inevitable parting approaches. Edward Watson is her partner and he too captures the sense of impending drama.

Choreographically Brandstrup’s three pas de deux draw the two protagonists together and at the same time separate them from each other. Both Benjamin and Watson gave exceptional performances, strong yet tremulous with emotion. Benjamin’s dancing was faultless and her portrayal of the role was vulnerable in the extreme. Richard Hudson was responsible for the costumes and minimal setting, so in empathy with the distillation of the story. His screens and scrims and his use of computerised writing and sketches, which appeared sporadically on the screens, added just the right sense of location. The contemporary score by Thomas Adès was based on the work of Couperin and again was empathetic to Brandstrup’s overall conception. Invitus, Invitam was intensely moving and certainly deserves further performances.

Winter Dreams was led by Sarah Lamb as Masha and Thiago Soares as Vershinin with minor principal roles being taken by Mara Galeazzi as Olga and Roberta Marquez as Irina. Together they provided a strong performance of this bleak story.

The closing work on this generous program, the pièce de resistance in my mind, was Balanchine’s Theme and Variations. I was not at the opening night’s performance when, I am told, Tamara Rojo and Sergei Polunin took the leading roles and when Alicia Alonso, creator of the ballerina role for Ballet Theater in 1947, was in the audience. But I was more than happy to see a radiant Marianela Nuñez partnered by a dashing Nehemiah Kish dancing with all stops out in this ferociously demanding work. From the opening moments when the ballerina and her partner present themselves to us, to that wonderful moment as the work comes to a close when grands battements merge into high-kicks, this is a work to be savoured for the remarkable display of the classical technique that it is. And again the entire complement of dancers showed what an outstanding company the Royal is at the moment.

I could, however, have done without Peter Farmer’s set for Theme, which to my mind suffers from a surfeit of draperies. Simplicity is all that is needed as a foil to Balanchine’s intricate weaving of bodies across the stage. But what a pleasure it was to see such beautifully trained bodies dancing with such a secure sense of classicism.

Michelle Potter, 27 October 2010

Kings of the Dance. City Center, New York

19 February 2010, City Center, New York

Christopher Wheeldon’s comment was thought-provoking. In the film sequence that opened Kings of the Dance, Wheeldon remarked that the biggest challenge for choreographers working with the eight exceptional artists performing in this show was managing the different styles in which those dancers had been trained. Of the eight, Jose Manuel Carreño was trained in Cuba, Guilllaume Côté in Canada, David Hallberg and Desmond Richardson in the United States, Marcelo Gomes in South America, Joaquin de Luz in Spain, and Denis Matvienko and Nikolay Tsiskaridze in Russia. Wheeldon continued that it was a particular challenge when the dancers had to dance together in a single work, but noted that it had eventually worked well. In fact, it only worked sometimes.

The highlight of the show for me, as far as works involving more than one dancer were concerned, was Nacho Duato’s Remanso, which comprised Act III of the program. Remanso, a work made for three men in 1997, was performed by Hallberg, Côté, and Gomes on the evening I attended. Duato’s choreography is always distinctive and transcends particular methods of classical training. It allows an individual voice to emerge from the choreography rather than being pasted upon it or sublimated to it. Hallberg, Côté and Gomes responded brilliantly. They brought their undoubted talents to bear to present a thrilling performance that was both amusing and technically absorbing.

This kind of transcendence didn’t happen in Wheeldon’s own work, For 4, that followed the opening film. It was danced by Matvienko, Carreño, de Luz and Côté and, while each danced well, it was not the stylistically coherent piece that Wheeldon was obviously seeking. There were also eight distinct styles on show in the Finale when eight excellent dancers showed off their best tricks—a manège of turns or leaps or a series of grand pirouettes—although coherence was obviously not an aim here.

The middle act consisted of seven solos and one duet. They ranged from the quite cliched work by Igal Perry, Ave Maria, danced by Carreño, to the Mr Universe style of Dwight Roden’s Lament danced by Richardson.

Amongst these solos, however, was the sublimely beautiful short piece made by Frederick Ashton for Anthony Dowell in 1978—Dance of the Blessed Spirits. It began with the dancer, David Hallberg on this occasion, standing on the top of a small platform with a few steps leading down to the stage floor. Hallberg’s body was lit to resemble a piece of sculpture in a gallery and his pose initially clearly recalled Michelangelo’s David. As Hallberg descended the steps and began to dance rather than to pose, the lighting came up to reveal choreography that was simple and yet in no way simplistic. It was an understated display of what constitutes the classical body, how that body moves and how with subtle twists of the arms and turns of the head it can become an innovation. Hallberg danced with classical perfection.

In the end, in a show of this nature it is the choreography that counts. On this occasion it was Ashton and Duato who gave this show its flair.

Michelle Potter, 24 February 2010

La Fille mal gardée. Paris Opera Ballet

14 July 2009. Palais Garnier, Paris

It was le quatorze juillet. The orchestra of the Opéra national de Paris began the evening with a remarkably stirring rendition of La Marseillaise. The audience applauded loudly and shouted Vive la France! It set the scene for an equally stirring performance of Frederick Ashton’s La Fille mal gardée.

Although Ashton’s version of Fille entered the repertoire of the Paris Opera Ballet only in 2007, the ballet has strong French roots that can be traced back to 1789 when a work called Le Ballet de la paille took the stage of the Grand-Théâtre of Bordeaux. Subsequently, a number of choreographers created their own versions before Ashton choreographed his production in 1960 for the Royal Ballet.

Ashton’s choreography gave the dancers of the Paris Opera Ballet every opportunity to show their technical capacity for fast and precise footwork and their glorious adherence to the classical way of moving. On show too was their ability to give an individualistic interpretation of a role. The Widow Simone who, in what no doubt was a one-off patriotic moment on the French National Day, waved a tiny French flag as she made her first appearance was a case in point. Stephane Phavorin was to a certain extent the flustered pantomime dame but absent (thankfully) was the high camp interpretation that one often sees. Similarly, Simon Valastro as Alain gave a thoughtful portrayal in which he managed to convince us that he was not so much an imbecile as simply someone incompetent of functioning in the society in which he found himself. The difference is perhaps subtle but this Alain was not entirely brainless.

As Lise, Dorothée Gilbert displayed the brilliant technical capacity and the clarity and expansiveness of movement that one has come to expect from étoiles with this remarkable company. Coupled with her beautifully expressive upper body and her sheer delight in dancing, she was everything one could hope for as Lise. Her mime scene in Act II where she imagines herself married to Colas was tenderly moving and the pas de deux in this act was danced with just the right dreamy quality to display Ashton’s choreography to perfection.

Gilbert was partnered by Mathias Heymann as Colas who like his colleagues showed himself every bit an étoile. This is a company of outstanding artists.

Michelle Potter, 16 July 2009