- Michelle Ryan
In February I had the pleasure and privilege of recording an oral history interview with Michelle Ryan for the National Library’s Oral History and Folklore Collection. Ryan is currently artistic director of the Adelaide-based Restless Dance Theatre.
Canberra audiences may remember Ryan as a member of the Meryl Tankard Company. She joined in 1992 so was only seen during the last year of the company’s four year stint in Canberra. When the company moved to Adelaide in 1993, becoming Meryl Tankard Australian Dance Theatre, Ryan went with them. She danced in all the works Tankard staged in Adelaide and was an especially wonderful tap-dancing fairy in Aurora. In the interview she explains that tap had been one of her childhood specialties when she was learning to dance at the Croft Gilchrist School of Dancing in her home town of Townsville.
Ryan’s story, including her struggle with the ravages of multiple sclerosis, is an amazingly courageous one and is told with honesty and integrity. She has not placed restrictions on the interview and it will be available as online audio over the National Library’s website in due course. [Update: Here is the link to the online audio]
- Stella Motion Pictures
In February I also caught up with Melbourne-based film maker Philippe Charluet who has been in Canberra working on a project called The Heritage Collection. Charluet filmed most of Graeme Murphy’s productions during Murphy’s artistic directorship of Sydney Dance Company and The Heritage Collection will showcase excerpts from many of those shows. It is still in its early stages but what a nostalgic look back it gives already. And oh the beautiful Katie Ripley in the Grand promo (to choose just one artist).
- Press for February
‘Staging unique challenge’. Review of A Tale of Two Cities, The Canberra Times, 7 February 2014, p. Arts 6. [Online version no longer available]
Michelle Potter, 28 February 2014
- Romeo and Juliet: DVD release
Graeme Murphy’s Romeo and Juliet was a controversial addition to the repertoire of the Australian Ballet in 2011. It has been one of the most discussed productions on this website and I recall being pleased when I was able to watch a recording where I could rewind sections to appreciate better both the choreography and the dancing. That ‘rewind experience’ was, however, on a plane and looking at a tiny screen was not ideal. Now the ABC has released a DVD so we can now have the luxury of watching the production at our leisure. It features Madeleine Eastoe and Kevin Jackson in the leading roles.
- Ballets Russes exhibition in Moscow
I have received some photographs from the opening of Valery Voskresensky’s Ballets Russes exhibition in Moscow. I am curious about the two costumes on either side of the world map. Scheherazade and Prince Igor? I welcome other comments of course although they are difficult to see due to the lighting.
Mr Voskresensky, who received a number of awards at the opening of the exhibition, also sent a link to an article in Isvestia and as I know there are some Russian speakers amongst readers of this site here is the link. There are also some very interesting costumes shown in one of the Isvestia images.
- Heath Ledger Project
In August I was delighted to record an interview with NAISDA graduate Thomas E. S. Kelly. Kelly gave a spirited account of his career to date. Kelly graduated from NAISDA in 2012 and has since been working as an independent artist. His work has included several weeks in Dubai with the Melbourne-based One Fire Dance Group when they appeared at Dubai’s Global Village celebrations earlier this year.
- Press for August
‘Symmetries’. Review of the Australian Ballet’s Canberra program, Dance Australia, August/September 2013, pp. 44; 46. An online version appeared in May [but is now no longer available].
‘The vision and the spirit’. Review of Hit the floor together, QL2 Dance. The Canberra Times, 2 August 2013, ARTS p. 8.[ Online version no longer available].
‘And the awards go to…’. Article on the Australian Dance Awards. The Canberra Times, 6 August 2013, ARTS p. 6. [Online version no longer available].
‘What happens when two worlds collide’. Story on Project Rameau, Sydney Dance Company and the Australian Chamber Orchestra. The Canberra Times, 31 August 2013, Panorama pp. 6–7. [Online version no longer available].
Michelle Potter, 31 August 2013
22 June 2013 (matinee), State Theatre, Victorian Arts Centre, Melbourne
The first thing to say about this performance of Graeme Murphy’s Swan Lake is that Leanne Stojmenov as Odette was absolutely stunning. It all began with that Act I wedding waltz. Partnered by Andrew Killian as Siegfried, Stojmenov not only danced with delicious fluidity in the upper body, she was also so attuned to the music and was so much the happy young bride. And how often does that beautiful white gown with its long, long train impede parts of the movement? Not this time. The gown was manipulated pretty much perfectly so that, as intended, it was an intrinsic part of the choreography. It was a beautiful and absolutely captivating moment so early into the show and it was followed by some charming encounters between Stojmenov and the guests, especially with the children.
From there Stojmenov delivered some technically sumptuous dancing and swept us through a whole range of emotions until her final disappearance into the depths of the dark waters of the lake. As Odette at the lakeside in Act II her solo, with its remarkable ending—a backwards slide along the floor, was magnificent, as was the pas de deux with Killian, again with its breathtaking ending that moves from Siegfried holding Odette as a limp, bent-over body, which is then stretched out fully but is held parallel to the floor, to a fish dive, and finally to another slide to the floor. And perhaps nothing was more moving in a dramatic sense than Stojmenov’s encounters with Killian in the final moments of Act III. They were danced with all the abandon of a woman in the full knowledge that these moments were to be her last with the man she loves. A series of very fast, perfectly executed turns down the diagonal towards Siegfried, arms flailing up and down, summed it all up.
The second thing to say is that Murphy’s choreography in this work is nothing short of remarkable. Perhaps it is seeing this Swan Lake so soon after Stephen Baynes’ more traditional version that highlights what an expressive choreographer Murphy is. Not many choreographers are able to use the classical medium as an expressive, narrative tool, to move the story along through movement. Murphy does. Take, for example, Siegfried’s solo in Act I as he is torn between his new bride and his old love. He bends into himself, opens his palms wide and places them on his face, and at times moves with little jerky or contorted steps. It all speaks of indecision, inner turmoil, unspoken guilt even. Or take Odette’s meeting with Siegfried in the asylum. Here Murphy gives us all the twitching movements we might associate with Odette’s state of mind and yet there is something about her arm movements that recall those of a more traditional Odette, which not only links us with other stagings of Swan Lake, but also presages Odette’s lakeside dream, which is soon to come.
There are some magnificent images that surface throughout the work. In Act III, as the guests leave the party following the little tantrum by the Baroness, unevenly played on this occasion by Amy Harris, we see Siegfried and his friends against a backcloth that is a representation of M. C. Escher’s linocut, Rippled Surface. They are frantically looking for Odette who has left the party and a very new vision of Siegfried, Benno and friends on their swan hunt (seen in very old productions!) comes straight to mind. And shortly afterwards, when Siegfried arrives suddenly at the lakeside, alone this time, the beautiful choreographic patterns being made by those black swans are just as suddenly scattered into a flurry of different poses and different arm movements. We are left with a fleeting image of a flight of birds disturbed from their ordered existence as if a shot had been fired into their formation.
And I can’t forget Harry Haythorne in Act I as the Marquis (the photographer). While he commands centre stage at times, he also spends a lot of time up in the back OP corner with his camera and his little hanky, a wave of which indicates that a shot has been completed. Taking my eye off the central action for a moment I noticed him arranging a group of children in a special pose, and also photographing a kite that one child was flying. Never one to stand still and just watch the action!
And the third thing to say is that all the drama that was missing from the recent Baynes production was there for all to see in this Murphy production. Murphy’s knack of moving seamlessly from one situation to another and back was evident in Act II as we saw the lakeside dream begin with Siegfried and the Baroness meet outside the asylum window, and saw the dream end with a return to that same meeting. But more than anything the drama was gripping as Odette teetered from one emotion to another.
I do have a couple of gripes. It is annoying that so few of the cast were mentioned by name on the cast sheet. I didn’t have the best seat in the house. It was a way back and a little too much on the side so it was quite hard to identify who was dancing in smaller roles. Who danced the two leading Hungarians in Act I, for example? I thought they did a splendid job, especially the female dancer. [It was Dana Stephensen—see comment from Anna below]. And who danced the little swans and the two leading swans? It is extremely frustrating to have some of the minor characters in Act I named, characters who really have very little to do and certainly no dancing to speak of, when dancers who have relatively substantial dancing roles are not named. And I will never understand why the magic of those last moments has to be spoilt as the black cloth disappears from that circular piece of wood that is the lake leaving us to see a bit of cut chipboard. Come on!
Gripes aside, I was immensely moved by this performance. It was one of those rare performances, I think, where so much pours out, so much underlying logic becomes apparent, so much of the detail of the choreography is made clear, and so much is impossible to record! A huge bouquet to Stojmenov for carrying the dramatic line so well and dancing so sublimely. Performances like this are why I keep going back for more.
Michelle Potter, 23 June 2013
Featured image: Artists of the Australian Ballet in Graeme Murphy’s Swan Lake, ca. 2003
IMAGES: I have no images of this current production as yet and in any case, with Stojmenov giving the performance she did I really am not inclined to post an image of another Odette. The featured image is one supplied by the Australian Ballet some years ago, probably around 2002 or 2003. No photographer’s name is mentioned but I would be more than happy to correct that if someone can supply the name. Looking closely you might notice some dancers who are now principals!
UPDATE (later, 23 June 2013): The second image on this post is indeed of Stojmenov in Murphy’s Swan Lake kindly supplied by the Australian Ballet and by one of my favourite and most generous photographers, Jeff Busby.
A review of the 2015 staging is a this link.
Talk given at the National Gallery of Victoria, Melbourne, in conjunction with the exhibition Ballet and Fashion, 20 April 2013.
Video clips used in the live talk and referred to in the text:
- Stanton Welch discusses Divergence
- Excerpt from The Vertiginous Thrill of Exactitude.
Michelle Potter, 3 May 2013
Living Treasure is a brief memoir: brief but appealing in its thoughtful discussion of the early directorial careers of Graeme Murphy and Janet Vernon. Author John Ellison Davies, former critic for the now defunct newspapers Nation Review and The National Times, focuses on the last years of the 1970s and remarks it was a time ‘when most of their adventure lay ahead of them’.
But prior to his discussion of the works of the late 1970s, Davies reproduces the press release issued in mid-2006 when Murphy and Vernon resigned from Sydney Dance Company. He comments: ‘It was a bombshell of pride, anger, and hope for the future’, and for us it is more than salutary to reread that press release almost seven years later. Especially striking is that Murphy and Vernon mention their ‘sadness’ as they watch dance entering what they call ‘a less dynamic phase’.
Davies goes on to give an abbreviated account of the careers of Murphy and Vernon immediately before they took up the reins of the Dance Company of N.S.W, which just a short time later became Sydney Dance Company. He concludes by publishing three of his reviews written between 1978 and 1979. One concerns Poppy, another Rumours and the third the 1979 Signature Season.
For those of us who were lucky enough (and are old enough) to have seen the earliest Murphy/Vernon productions it is a treat to read such graphic, analytically absorbing accounts of them from Davies’ pen. And the reviews are well chosen, not only because they refer to significant works by Murphy but because they show us Murphy’s ability to work with diverse subject matter—the themes of Poppy and Rumours, for example, are worlds apart. For those who didn’t see these early shows, Davies makes it easy to visualise what they were like.
The publication is unillustrated (I’m sure for very good reasons associated with the difficulties of self-publishing) so I have reproduced a few images from Poppy, taken from a 1980 production, in this post and have attempted to choose images that illustrate some of Davies’ descriptive passages. His analysis of Murphy’s treatment of Cocteau and his opium addiction is especially interesting.
As an aside, an oral history interview recorded with Murphy by Hazel de Berg in 1981 expands upon the years covered in Living Treasure, and on Rumours and Poppy in particular. An edited version of this interview was published in 1994 in the first issue of the journal Brolga: an Australian journal about dance. This article is not available in the online version of Brolga but it is worth hunting out in libraries that subscribed to the journal in print form. The introduction to the edited interview is at this link.
Living Treasure was published by Amazon in 2012 as an e-book for Kindle. I believe it can also be downloaded onto other devices. It’s well worth it, despite the brevity of the publication. It is food for thought too on the issue brought up in the 2006 press release of dance being less dynamic (and indeed by extension the issue of dance writing in a world where newspapers seem to have less and less substantial comment, especially about the arts, and fewer and fewer informed writers, especially about dance).
Michelle Potter, 28 February 2013
‘It brought back so many memories’—Jill Sykes
Ballet and fashion, an exhibition curated by Roger Leong as a joint venture between the National Gallery of Victoria and the Australian Ballet, is a mini-feast for the eyes. It is a small exhibition with just twenty-one costumes, several headdresses, a face-mask, and seven designs on paper. But the material gives an enticing glimpse of how designers whose work has been primarily in the field of fashion have collaborated in the production of dance.
The show is complemented by a compilation of footage showing extracts from five works: Romeo and Juliet (Graeme Murphy), 2 Lips and Dancers in Space (Robert Wilson/Makram Hamdam), Divergence (Stanton Welch), Aviary (Phillip Adams) and Tutu Parade (Adrian Burnett). The latter was part of another ‘tutu initiative’ that culminated in Tutu: designing for dance, an exhibition shown at the Ian Potter Centre, National Gallery of Victoria in 2004–2005. The footage is an excellent addition giving the viewer the opportunity to see how (or if) some of the costumes we see in display cases move (or don’t) with the body. It is good quality footage too and shown on a large screen.
The exquisite, detailed work of Akira Isogawa is represented in the first room with three costumes from Graeme Murphy’s Romeo and Juliet. But the surprise is the inclusion of two dresses from Grand, Murphy’s deeply moving work made in 2005 in memory of his mother. The dresses from Grand are beautiful to look at close-up, which of course we don’t get the opportunity to do when we see them onstage. Delicate, intricately decorated, ruched and layered, gently coloured and made from ivory-coloured fabric, with one of them showing touches of gold decoaration, they highlight the detail and care Isogawa puts into his work.
Another of Isogawa’s techniques that is hardly noticeable from the auditorium but that is a delight to see close-up is his use of delicately patterned fabric. The skirt of Lady Capulet’s dress for Act I scene iii in Romeo and Juliet, for example, has an overlay patterned with a feather design. Romeo’s tights are also patterned. And it interesting to see close-up Isogawa’s use of Japanese techniques of manipulating fabric on the sleeves of Lady Capulet’s shrug and Romeo’s doublet. And I must admit I didn’t notice while watching the work onstage that Romeo carried a built-in pistol on his chest.
I was also taken by two black ‘bird’ costumes: Giles Deacon’s black tutu commissioned in 2010 by Harper’s Bazaar on the occasion of the sixtieth anniversary of English National Ballet, and a costume from Act I of Aviary a recent work by Phillip Adams. The Deacon tutu, with its traditional shape and with small clumps of ostrich feathers placed delicately on the outer rim of the skirt, has a bodice of skin-coloured fabric on which is stitched a heart-shaped front of lace and beads. While it was initially made as a kind of pièce d’occasion, it was worn in a performance of the Black Swan pas de deux from Swan Lake by dancers of English National Ballet. It is a beautifully elegant version of the traditional tutu and its style stands in contrast to the modern variation on the tutu made by Toni Maticevski for Aviary. The Maticevski garment is less traditional in shape, rather more cabaret-esque with its pannier-like sides of strikingly large ostrich feathers, and with tulle and silk georgette fabric draped at front and back. Its accompanying millinery by Richard Nylon is eye-catching to say the least.
Remarkable to look at are three costumes by Viktor & Rolf for a Netherlands Dance Theatre production, 2 Lips and Dancers in Space, directed by Robert Wilson for the NDT III arm of the company. I especially enjoyed a black and gold costume that consisted of various extravagant additions to a basic, long-sleeved, black unitard-style garment. Gold metal crowns projected from the thigh and hip sections of the unitard, and gold cones (dunce caps?) with gold fabric falling from the peak of the cone sat on the shoulders and projected from the genital region. Gold fabric of various kinds—lamé, silk, satin—were wrapped and draped on various parts of the costume. The theatricality of the whole had the look of the Baroque era or perhaps Carnivale in Venice. Or perhaps Dada-esqe is a better word to describe the items, especially when one watches an extract from the work in the compilation of footage.
While I have singled out just a few of the costumes on display, every one of them has something of interest, either intrinsically, comparatively or in relation to the footage. Some are well-known to dance-goers in Australia: Vanessa Leyonhjelm’s ‘industrial’ tutu for Stanton Welch’s Divergence, Collette Dinnigan’s finely designed tutu with black lace and beading over a peach-coloured silk skirt and Easton Pearson’s African-inspired tutu, the latter two having been seen in the earlier tutu exhibition. Others are not so well-known: Rei Kawakubo’s astonishing costumes with their large protuberances for Merce Cunningham’s Scenario, Christian Lacroix’s colourful, multi-patterned, mixed fabric costumes for a 1980s revival of Gaîté parisienne by American Ballet Theatre, and others by Ralph Rucci and Valentino. And then of course there are the astonishing hooped burqas with flashing blue lights that are part of 2 Lips and Dancers in Space.
The exhibition is a very nicely curated show and well worth seeing. It is accompanied by a useful booklet, Ballet and fashion, by Roger Leong, which contains the information on the wall captions and extra information, especially about the designers. Some seating in the gallery displaying the footage would be a bonus.
Ballet and fashion: National Gallery of Victoria, Melbourne. 3 November 2012–19 May 2013
Michelle Potter, 17 January 2013
‘It brought back so many memories’—Jill Sykes
Thank you to those who have logged on to my website over the past year, especially those who have kept the site alive with their comments. I wish you the compliments of the season and look forward to hearing from you in 2013.
The best of 2012
Lists of the ‘best of’ will always be very personal and will depend on what any individual has been able to see. However, here are my thoughts in a number of categories with links back to my posts on the productions. I welcome, of course, comments and lists from others, which are sure to be different from mine.
Most outstanding new choreography: Graeme Murphy’s The narrative of nothing (despite its title), full of vintage Murphy moves but full of the new as well.
Most outstanding production: Bangarra Dance Theatre’s Terrain with choreography by Frances Rings and outstanding collaborative input from the creative team of Jennifer Irwin, Jacob Nash, Karen Norris and David Page.
Most outstanding performance by a dancer, or dancers: Lana Jones and Kevin Jackson in Balanchine’s Tschaikovsky pas de deux as part of the Australian Ballet’s 50th anniversary gala.
Most disappointing production: The Australian Ballet’s revival of Robert Helpmann’s Display. I’m not sure that anyone in the production/performance really ‘got it’ and it became simply a reminder that dance doesn’t always translate well from generation to generation, era to era.
Surprise of the year: Finucane and Smith’s Glory Box. While some may question whether this show was dance or not, Moira Finucane’s performance in Miss Finucane’s Collaboration with the National Gallery of Victoria (Get Wet for Art) was a wonderful, tongue-in-cheek comment on the angst-ridden works of Pina Bausch, and as such on Meryl Tankard’s more larrikin approach to serious issues.
Dancer to watch: Tammi Gissell. I was sorry to miss the Perth-based Ochre Contemporary Dance Company’s inaugural production, Diaphanous, in which Gissell featured, but I was impressed by her work with Liz Lea in Canberra as part of Science Week 2012 at CSIRO and look forward to the development of that show later in Canberra in 2013.
Beyond Australia: Wayne McGregor’s FAR, in which the choreography generated so much to think about, to talk over and to ponder upon.
Most frustrating dance occurrence: The demise of Australia Dancing and the futile efforts to explain that moving it to Trove was a positive step.
Michelle Potter, 16 December 2012
17 November 2012 (matinee), Joan Sutherland Theatre, Sydney Opera House
A second viewing of Icons, the Australian Ballet’s triple bill tribute to 50 years of choreographic exploration by the company, confirmed much of what I thought from my previous viewing. In particular I think it was a mistake to revive The Display. Despite well danced performances by Rachel Rawlins as the Female, Brett Simon as the Leader and Ty King-Wall as the Outsider the work overall looks old-hat. The kind of behaviour on show in the ballet was perhaps an accurate view of male/female relations in Australia in 1964 but it doesn’t have the shock value it had 48 years ago—times change. And while Katharine Hepburn might have been turned on by lyrebirds, I’m not sure any of the Australian Ballet dancers are, or even pretended to be. What’s more much of Robert Helpmann’s choreography looks a little like that from a musical (and not such a good one at that), while Sidney Nolan’s set, so evocative in its day, lost much of its appeal on the tiny stage of the Joan Sutherland Theatre, especially from J row in the stalls. Memory is a funny thing of course but I also seem to remember the lighting and general visual ambience being softer, hazier and thus more affecting. But I may be living in my dreams! In any case the revival has been a huge disappointment.
Gemini on the other hand still looks fabulous and its choreography was given great treatment by Leanne Stojmenov, Juliet Burnett, Andrew Wright and Kevin Jackson. While I was attracted by the opening night cast in Melbourne by their cool, technical reading of the work, not to mention their spectacular energy, the cast I saw in Sydney brought a whole new element to it. Not to say that there was not also a strength of technique with this cast—there was—it was beautifully danced by all four. A duet between Stojmenov and Jackson (who seems to get better and better every time I see him) was remarkably powerful with its dramatic lines and enfolding of bodies one with the other; and Burnett has an unusual mixture of fragility and strength that brought a new quality to the work. But there was a hint of the sinister, or at least something disquieting or provocative, and more than a hint of emotion in the performance from this cast. For me this Gemini had a feeling of humanity about it, as well as being a ballet about contemporary technique.
As for Beyond Twelve, well my companion said as we stood up to leave: ‘Graeme Murphy makes ballet for adults!’ With all its slapstick humour, its phallic references, its comments on youthful immaturity, and its poking fun at Australian society it is still an immensely moving ballet. And the trio between the Beyond Twelve, Beyond Eighteen and Beyond Thirty remains one of Murphy’s most heart-warming choreographic accomplishments, as does the beautifully staged ending full of resignation, or is it wistfulness, or is it just time to move forward?
Michelle Potter, 20 November 2012
Here is the link to my earlier post.
30 August 2012, State Theatre, Victorian Arts Centre, Melbourne
The Australian Ballet’s Icons program is a truly exciting triple bill. Every work has particular interest historically and, while one really doesn’t measure up, two of the three are thrilling to watch. The absolute standout in terms of dancing is the middle work on the program, Gemini, Glen Tetley’s work made on the Australian Ballet in 1973. It was danced on opening night by Lana Jones, Amber Scott, Adam Bull and Rudy Hawkes, with Jones in particular performing as if there were no tomorrow.
Against a modernist set of coloured horizontal slats by Nadine Baylis, Gemini unfolds as a series duets and solos embodying powerful, dynamic movement. Of the women, Jones is cool but bold, assertive, a powerhouse of energy. Her manège of grands jetés with arms stretched heavenwards in an open fifth position (à la Isadora in La Marseillaise) was breathtaking. Scott is more elusive, sinuous and deliciously sensuous. Of the men, Bull had that little extra movement in the chest and pelvis—in the torso I guess—that drew the eye towards him whenever the men were onstage. Hawkes’ performance lacked the same zing but was nevertheless a pleasure to watch. When Tetley was in Australia in 2003 to stage Voluntaries he told me that creating Gemini had made him love the energy of Australian dancers. I think he would have been thrilled with the electrifying way in which Jones, Scott, Bull and Hawkes performed.
Closing the evening was Graeme Murphy’s evocative Beyond Twelve, a work first shown in 1980 and a real bottler of an Australian ballet showing all Murphy’s theatricality, humour and unique choreographic hand. Beyond Twelve tells the story of a boy’s transition from football-playing youth to adolescent dancer and finally on to mature artist facing the uncertainties of life beyond dance. Brett Chynoweth, Calvin Hannaford and Andrew Killian took the three main male roles of Beyond Twelve, Beyond Eighteen and Beyond Thirty and their trio in which we see their lives intertwining was a real highlight. Showing the passage of time in a choreographic sense is one of Murphy’s great strengths and this trio is no exception. Brooke Lockett, a coryphée with the company, danced the role of First Love and played it with just the right feeling of delight in the pleasures of youth.
Beyond Twelve is an immensely moving work (as well as being full of wit and humour) and nothing captures that feeling more than when, as the ballet closes, we see the mature dancer joined momentarily by his first love. And just as it looks like they will remain together, a figure in evening dress appears in the background and the girl moves away to join the other man, her Escort. Murphy’s sense of theatricality is brilliant here, partly in his placement of the three characters on the stage, but also in the instant realisation the moment generates that life is full of changes.
Despite its historical interest, the big disappointment of the evening was The Display, Robert Helpmann’s 1964 production based on his and Katharine Hepburn’s sighting of the mating dance of the lyrebird. The Display opened the program and perhaps it was inevitable that a work so entrenched in Australian culture of the 1960s would never translate well into the twenty-first century. But I didn’t think it would be quite so problematic. Nothing to me looked like an Australian picnic in the bush. The girls, so pretty with their Renoir hairstyles and pink dresses, could have been peasants in Giselle—and incidentally, Sidney Nolan, whose designs were ‘refurbished’ for the occasion, wanted the girls’ dresses to be the colour of ‘dog biscuits’, which certainly wasn’t the case with this production. In addition, the boys looked like princes as they pointed their feet, stretched their legs, and stayed so thoroughly within their classical ballet heritage. I’m not sure that, when playing footy, drinking beer and punching people up, men look like that.
Kevin Jackson as the Outsider missed the point, I think, that this character was meant to be so culturally different from the rest of the men. A red shirt and blue trousers aren’t enough to show that he was meant to be an Italian in Australia in the 1960s, a time of significant European migration. Australians had scarcely heard of coffee then let alone of European attitudes to women. The role needs a different physicality as well as costume to get the point across and Jackson didn’t seem to me to be much different from the rest of the men. But then perhaps that was a result of the other men behaving as if they were dancing a nineteenth-century ballet.
The saving grace was Madeleine Eastoe as the Female. She made Helpmann’s choreography look quite respectable despite a series of fouettés that Helpmann suddenly dropped into it all for no apparent reason. And she managed to get across the sense of sexual arousal that needs to be apparent as, at the conclusion of the ballet, the Outsider leaves her after his attempted rape and the Male (the lyrebird) comes forward to cover her with his tail feathers.
It was interesting to see Barry Kitcher, Bryan Lawrence and Garth Welch from the 1964 cast of Display come onstage to take a bow during the curtain calls. They were joined by Julie da Costa who danced the Female in a later 1980s production. There was no note in the program to say that they had been involved in coaching the dancers. The Display certainly needed some good coaching to make it work.
Musically the program was extraordinarily diverse. Malcolm Williamson’s score for The Display remains as beautiful as ever with its quivering, bush sounds, and was perhaps the highlight of that ballet on this occasion; Tetley’s choice of Hans Werne Henze’s Symphony No. 3 for Gemini was inspired with music and choreography so well attuned; and Maurice Ravel’s Piano Concerto in G major, whose movements had been reordered by Murphy to fit the storyline of Beyond Twelve, was played with customary elegance by Stuart Macklin.
Despite The Display having major problems, I thought this was a good triple bill. In my mind it sits within the spirit of the best of triple bills where there is a bit of everything, including the ‘serious’ work in the middle and the ‘feel good’ work to go home with.
Michelle Potter, 1 September 2012
Featured image: Lana Jones in Gemini. The Australian Ballet, 2012. Photo: © Jeff Busby
Postscript: Looking back at a review of Beyond Twelve that I wrote for Dance Australia way back in 1994 (with David McAllister, Steven Woodgate, Greg Horsman and Vicki Attard in the leading roles), I mentioned that Horsman danced the role of Beyond Twenty-Five, rather than calling it Beyond Thirty. I’m not sure when the name change happened, but it is interesting to speculate that times have changed in (almost) twenty years and perhaps thirty is now the new twenty-five? Unless I got it wrong in 1994?
Update: Here are my comments after another look at the program in Sydney.
I finally managed to see the recording of Graeme Murphy’s Romeo and Juliet made by the SBS subscription channel Stvdio and recorded on 21 September 2011 at a live performance in Melbourne. Posts relating to this work continue to attract visitors to this site and it was interesting to notice that the number of visitors accessing the site from Adelaide rose dramatically when the work was shown there recently. Adelaide visits continue to remain high and the Romeo and Juliet posts continue to be the most accessed posts overall. Whatever opinions of the work might be out there, there is little doubt that it has inspired incredible interest amongst the dance community.
I was especially pleased to have the opportunity of watching the ballet close up through the Stvdio recording and also to have the opportunity to rewind certain sections that were especially powerful, or that attracted me for a particular reason.
It was rewarding, for example, to be able to watch several times Madeleine Eastoe’s stunning entrance into her bedroom early on in the work. There she is running on pointe so fast that her feet start to look blurred. And those lovely over-the-head claps as she jumps in the air, and those little piqué steps backwards, create such joyous, light as a feather dancing.
The recording made judicious use of a small number of close ups in this early section, which highlighted Elizabeth Hill’s beautiful portrayal of Juliet’s nurse. Hill watches her charge with such a caring look as Juliet tries her ball gown against her young and blossoming figure, and the rapport between them is clearly shown on their faces. Then eventually, off Juliet runs again, jumping on to a chair that happens to be in her way before she springs onto her bed. It’s wonderful choreography and wonderful acting and an absolute delight to watch again.
I also loved the serenity of the wedding scene and watching the Murphy touches unfold: the journey to the site of the wedding with Juliet walking across the shoulders of a group of black clad holy men; the duet with the monk that uses the feet as a point of contact between the two; and the playful role the train of Juliet’s wedding dress plays in her duet with Romeo during the ceremony. Murphy’s signature is there in full force!
In addition, I really took pleasure watching Adam Bull as Death and still think this role is one of the strong points of the production. Not only does the role act as a powerful through-line, it also acts as an element of dramatic irony. We know what is going to happen right from the beginning when Death picks up a bunch of lilies, a symbol of both purity and death and a recurring motif throughout the work, from the ground in the piazza as the piece opens.
But the scene I thought had the most dramatic power was Juliet’s visit the monk to seek a solution when it seemed that marriage to Paris was her ultimate fate. Murphy makes this a much more significant scene in the ballet than did Cranko in the version that we have been watching in Australia since the 1970s. In the Murphy production the story is told with choreographic and force and through powerful gestures, and we see Murphy using another of his signatures: Juliet is transported through to the country of the holy man held aloft by several black clad figures who carry her through the air in a display of expansive soaring movements.
The conclusion to this scene occurs when Death enters Juliet’s bedroom and stands behind her to slip on her nightdress, and also in the following, shuddering trio when Death places himself between Juliet and Romeo. Again we know there is no hope.
On a less positive note, the final desert scene is not my favourite part of the ballet and a close up look did nothing to make it look better. As one comment has indicated on the original post, Lady Capulet did look decidedly out of place in her high fashion gear, as beautiful as it was, stumbling around with high heels in hand.
In general, though, I thought this recording was beautifully and sensitively made. The more I look at this Romeo and Juliet the more interesting it becomes and the more I wonder about the difficulty we face with the ‘shock of the new’ when we watch a new dance production, in all its fleeting beauty, for the first time.
Michelle Potter, 24 June 2012