Dance diary. September 2023

Canberra Dance Theatre

Canberra Dance Theatre (CDT) is about to celebrate its 45th birthday and part of its celebrations will take place in Civic Square in Canberra City on 15 October. Amongst other activities, CDT is staging a Great Big Community Dance at 2:15 that afternoon. The media release says: ‘There’s no need to learn our fabulous dance first. Simply join the group, check out who the leaders are and follow along. It’s all about participating, connecting with others, sharing a joyful experience and having a great time.’

The Canberra drumming ensemble Tanamasi will be playing live music and the community dance has been choreographed by Gretel Burgess, Max Burgess, Rachael Hilton, Levi Szabo and Jacqui Simmonds.

Canberra Dance Theatre grew out of the National University Dance Ensemble (NUDE), established by Graham Farquhar in 1970. In 1977 it became Canberra Dance Theatre and was under the leadership of Diana Shohet, Lorna Marshall and Graham Farquhar. Its artistic directors since then have been:

Dr Stephanie Burridge (1978–2001)
Amalia Hordern (2002–2006)
Megan Millband (2007–2009)
Liz Lea (2010–2016)
Jacqui Simmonds (2020–current and Artistic Coordinator from 2018-2019)

The company has had a remarkable history of collaboration over its 45 years and has included collaborations with Aboriginal & Torres Strait Islander Dance Theatre Student Ensemble, Mirramu Dance Company as led by Elizabeth Cameron Dalman, and a list of individual artists too long to mention but who include Phillip Adams, Jennifer Barry, Julia Cotton, Patrick Harding-Irmer, Russell Page, Paul Saliba, Cheryl Stock, and Jade Dewi Tyas Tunggal.

CDT is also the home of the GOLDS, Canberra’s much admired group of dancers over the age of 55.

Jack Riley and Nikki Tarling

Once again a portrait of dancer Jack Riley, this time with fellow dancer Nikki Tarling, has made it to the finals of the Art Gallery of New South Wales’ prestigious prize, the Archibald. The portrait, reproduced below, is by artist Marcus Wills. Read a little more about it here.

Jack Riley was the subject of another portrait, also by Marcus Wills, which reached the finals of the Archibald in 2020. See this link.

Ron Barassi (1936–2023)

I don’t usually write about football or football players on this site, but Ron Barassi, Australian Rules footballer, coach and mentor, is an exception. Barassi died on 16 September 2023 aged 87. His connection with dance goes back to the 1960s when he was responsible for input into Robert Helpmann’s then iconic creation The Display. Barassi was called in to ensure that the male dancers in the ballet, who were passing a football amongst each other, were doing so correctly. Barassi is recorded as saying: In 1964 I had the great pleasure of coming to know Robert Helpmann through my involvement on his ballet ‘The Display’. In the dance there was quite a lot of football played and Robert asked me to attend rehearsals and advise the ballet dancers on the correct ways of playing Victorian Rules. I did so and although the dancers were impressively athletic, I immediately noticed that they were throwing the football around the room like rugby players. I told Robert this and he was absolutely mortified. From there he worked solidly to get every detail right, as his demand for excellence and accuracy was uncompromising.

Further discussion of various aspects of The Display are at this link.

Bangarra T-shirt

I bought myself a Bangarra YES T-shirt ahead of the forthcoming referendum on the Voice to Parliament. It was quite expensive as T-shirts go but 50% of the profits from the sales will be donated to the Mangkaja Arts Resource Centre in Fitzroy Crossing, Western Australia. The T-shirt features artwork by Lynley Nargoodah and I can attest to the quality of the product and the beauty of the artwork that adorns the word YES. I think the supply is almost sold out but check here where there is more information about the design.

Bangarra dancer Daniel Mateo wearing the Bangarra YES T-shirt

More on Strictly Gershwin

To close this months dance diary here is another photo from Queensland Ballet’s fabulous Strictly Gershwin, which I can’t get out of my mind! Read my review here.

Patricio Revé in *Rhapsody in Blue* from *Strictly Gershwin*. Queensland Ballet 2023. Photo: © David Kelly

Michelle Potter, 30 September 2023

Featured image: Promotional image for Canberra Dance Theatre’s 45th birthday celebrations. Photo: © Jacqui Simmonds

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

Bespoke, 2023. Queensland Ballet

27 July 2023. Talbot Theatre, Thomas Dixon Centre, Brisbane

It would be hard to find a performance more thrilling, more emotionally driven, more technically fascinating than the sixth production from Queensland Ballet under the banner Bespoke. Made up of works from Remi Wörtmeyer, Paul Boyd and Natalie Weir, this program was rightly advertised as ‘compelling, challenging and always thought provoking’.

The evening began with Wörtmeyer’s Miroirs (Mirrors in French) danced by 10 dancers to piano music of the same name by Maurice Ravel. It was played onstage on this occasion by Daniel Le. Choreographically, Miroirs was an interesting combination of classical vocabulary and more contemporary style movement. The classical sections were nicely structured in a spatial sense with dancers creating a range of unexpected groupings. On the whole it was a relatively fast-paced work and often surprising in the strong imagery that emerged from partnering.

Scene from *Miroirs*. Queensland Ballet, 2023. Photo: © David Kelly

The more contemporary movement was often quite grounded and for me these sections didn’t work so well, or at least didn’t blend easily with the more classically-based sections. The work ended with a pas de deux danced by Mia Heathcote and Victor Estévez. It was a quiet ending compared with the speed and action of the first and much longer section and, despite excellent dancing from Heathcote and Estévez, the ending felt somewhat out of place.

Wörtmeyer was responsible for the attractive costumes and set design. His set consisted of nicely arranged strings of light and reminded me of a deconstructed chandelier. His costumes were simple, close-fitting tights and tops but were made elegant with the addition of small, silver decorative elements at the waist and elsewhere on the costumes.

Second on the program was Tartan choreographed by Paul Boyd to an assorted collection of sound, from a rendition of Donald where’s your trousers? to music from the Royal Scots Dragoon Guards! The work tells the story of an elderly Scottish gentleman, played by former Queensland Ballet dancer Graeme Collins, who relives his past and imagines the people he grew up with return to his house and interact once more with him.

Graeme Collins (centre) in *Tartan*. Queensland Ballet, 2023. Photo: © David Kelly

Tartan was choreographed in spectacular fashion to combine traditional Scottish steps with ballet and contemporary movement. I especially loved the way Boyd often combined, or intertwined, two varieties of fifth position of the arms, one strictly classical, one with fingers held in a Scottish manner. But here was much more than that, including the bends of the body in a reverence with torso stretched forward and spine parallel to the floor; pointe work for the girls on occasions; lots of pliés in second position; the fast, definitive moves of the feet close to the ankles; and so on. Then there were the surprising moments when the dancers appeared (like ghosts?) from under and inside a box-like table to the hilarious scene, led by Josh Fagan, accompanying Donald where’s your trousers?

Jette Parker Young Artists (centre Josh Fagan) in ‘Donald Where’s your trousers’ from *Tartan*. Queensland Ballet, 2023. Photo: © David Kelly

The dancers, all from Queensland Ballet’s Jette Parker Young Artist Program, performed with huge commitment and skill. Apart from their actual technique I loved the way they projected their presence out to the audience. It was an absolute joy to watch them and, If their performance is anything to go by, the future of Queensland Ballet is assured.

Natalie Weir’s Four last songs closed the program and, for me at least, it was the highlight. I have long admired Weir’s choreography, on the one hand for the emotive qualities with which her works are always imbued—We who are left made for Queensland Ballet in 2016 (restaged 2022) instantly springs to mind—but also for the way in which she has always used partnering to display choreographic possibilities. Both those qualities were apparent to an exceptional degree in Four last songs.

Weir’s Four last songs used the composition of the same name by Richard Strauss to tell a story about life and death with a strong sense of a life that is lived to the full before, inevitably, death arrives. The work was led by Lucy Green and Patricio Revé and I admired the way Weir had set choreography in the early stages that was joyful—Green’s little skipping-like movements shorty after her first entrance for example—but which gave way to something slower as age progressed. The work concluded with strong movement that was actually beautifully uplifting as the inevitability of the end of life was accepted.

The work of Green and Revé was mirrored by four couples representing, on the surface, four seasons, but those seasons also reflected four stages of life. The dancing of the four couples showed Weir’s long standing interest in partnering and ranged from beautifully swirling lifts to slower, less extravagant but still quite spectacular ones as life progressed. As for the four men, Weir tells us in her notes that they represent ‘one man, a thread of humanity’. There was one stage when the four men held sway with a magnificent series of entrances and exits interspersed with spectacular jumps. It was extraordinary dancing from all the dancers.

(left) Lina Kim and Callum Mackie and (right) Joshua Ostermann in Four last songs. Photos: © David Kelly

I have often wondered how Weir manages to imbue her work with the emotion that we always feel when watching it. It is of course partly the dancers’ ability and the coaching they receive to act out the scenario. But it is also Weir’s choreographic ability to create movement that tells the story. Those little early skipping movements from Green, for example. Then there were those beautiful swirling lifts that told so much about life, including the lifts performed by Callum Mackie and Lina Kim who performed as Autumn or a late stage of life in which more sleep was apparent. Kim’s body was often held parallel to the ground as if her body was still sleeping while being lifted. And more. Four last songs was a stunning work from Weir.

Bespoke 2023 was a triumph.

Michelle Potter, 29 July 2023

Featured image: Lucy Green and Patricio Revé in Four last songs. Photo: © David Kelly

Li’s Choice. Queensland Ballet

10 June 2022. Playhouse, Queensland Performing Arts Centre, Brisbane

Li Cunxin has been at the helm of Queensland Ballet for close to ten years and the company’s latest production, an absolutely mind-blowing triple bill called Li’s Choice, is in celebration of those ten years of masterful leadership on Li’s part.

The program opened with Greg Horsman’s Glass Concerto, a work for six dancers performed to a violin concerto by Philip Glass. I saw this work in 2017 and, while I loved parts of it, especially what I called the ‘technical fireworks’ of the choreography for the third movement, it left me uninspired in other parts. Not this time. The opening moments were danced by all six dancers and the choreography was filled with beautifully rehearsed classical partnering for the three couples. From there the choreography unfolded to show the dancers in different groupings with some solo sections before it reached the so-called (by me) fireworks. Mia Heathcote caught my eye, as she usually does, in this case for her exceptional ability to add that tiny extra bit of expression (both facial and in the body) that makes her work stand out. But every dancer showed an inspired approach to Horsman’s choreography. They just looked spectacular, all of them.

Patricio Revé in *Glass Concerto*. Queensland Ballet, 2022. Photo: © David Kelly

Costuming by Georg Wu was, on the surface, quite simple—a black leotard-style garment for men and women with a more masculine look to the lower section for the men. But the detailing was quite beautiful—a bit of sparkle here, a cut-out section there, and with opaque sections contrasting with more translucent areas. All together Glass Concerto was a terrific opener.

The middle work was Natalie Weir’s very moving We who are left, which I also saw earlier from Queensland Ballet.* I was just as moved this time by a work that I think is a masterpiece from Weir. On the surface, We who are left is a simple story about five men who leave for a war zone, their activities in the war zone, the fate of the women they leave behind, and the return of one of the five men. But the emotion that Weir injects into the choreography takes the work to a truly inspiring level. This time I was especially taken by the choreography for the men when at war. While this section began in somewhat of a militaristic style, as the war continued the choreography became more fractured, more twisted, more death-like.

But still the highlight for me was the section ‘She who was left’, danced on this occasion by Lucy Green. The woman is joined by the man (Patricio Revé) who left her to go to war. He was one of those killed and returns in spirit to the woman. The pas de deux between them is just a brilliant piece of choreography. They dance together but never touch, although the emotional connection, the memory, is there in full. And what a different feel this pas de deux has from another in the same work, ‘Memories of love’, when a physical connection between Lina Kim and Vito Bernasconi is at the heart of the pas de deux

Lucy Green and Patricio Revé in *We who are left.* Queensland Ballet, 2022. Photo: © David Kelly

We who are left is complemented by a stunning lighting design by David Walters (revived by Cameron Georg), It delivers an emotional setting from beginning to end.

The closing work was Kenneth MacMillan’s Elite Syncopations, performed to music from Scott Joplin and other ragtime-style composers, with the chamber orchestra, Camerata, playing on stage. Nigel Gaynor conducted and was pianist for the orchestra.

Elite Syncopations is a series of routines featuring characters in a dance hall of some kind. There is not a storyline as such but the characters flirt amongst each other and vie for attention from others in the dance hall. Stand-out performances came from Neneka Yoshida, in a fabulous white costume with strategically placed red stars (costume design by Ian Spurling); Mali Comlecki as a suave character who seemed to want to put himself above everyone else; Luke Dimattina, who played a guy somewhat on the outskirts of the group but who wanted to be part of it; and Victor Estévez whose character seemed to be in competition somewhat with that of Comlecki.

(left) Mali Comlekci and Neneka Yoshida; (right) Victor Estévez. *Elite Syncopations*. Queensland Ballet, 2022. Photos: © David Kelly

Elite Syncopations gave everyone in the cast a chance to let their hair down and clown around a bit. The funny thing was that, having seen this work performed by the Royal Ballet, on whom it was originally made by MacMillan in 1974, I thought Queensland Ballet brought a new insight to the work. Somehow it seemed quite ‘Ocker’ in comparison the the Royal version! I loved it.

Apart from the breathtaking performances across the board, what really struck me was that this triple bill showed us what dance can transmit to an audience. We had a peek at the vocabulary of classical ballet and the beautiful athleticism and lyricism that dancers trained in the style can achieve, we saw how dance can transmit hugely emotional feelings about life and its many and varied aspects, and we were treated to the notion that dance is fun, joyous and often hilarious. While each of the three works was focused largely on one of these three ideas, there were traces of all in each.

The evening curtain call rightly included Li and the presentation to him of a huge bouquet of red roses. Justly deserved! Li’s Choice was an absolute cracker of a triple bill and shows Li as a great director. It also shows the Queensland Ballet staff as brilliant collaborators and teachers and the company itself as one of the best, perhaps even the best, we have in this country.

Michelle Potter, 11 June 2022

Featured image: Mali Comlekci and Neneka Yoshida in Elite Syncopations. Queensland Ballet, 2022. Photo: © David Kelly

My original review of We who are left appeared in 2016 on the UK site DanceTabs. DanceTabs no longer exists but the review I wrote then is available at this link now.

Chiara Gonzalez in 'Self Portrait'. Queensland Ballet's '60 dancers: 60 stories', 2020.

60 dancers: 60 stories. Queensland Ballet. Week 2

Art must prevail

In the second week of offerings in Queensland Ballet’s 60 dancers: 60 stories, what is there not to like about ‘Self Portrait’ by Chiara Gonzalez—seen above in the featured image? As for the floor cloth by the time she had finished dancing—well, eat your heart out Jackson Pollock! And I loved that her take on the theme of love—her deep love for art, including its creation—was somewhat different from most of the other approaches.

But then there’s Victor Estévez in the male solo from Act I of Swan Lake, including a brief appearance by Mia Heathcote as Odette. Only in Australia could there be a Hills Hoist in the setting! Even the escape to the park, so there was space to execute a series of grands jetés, had a very Australian bandstand in view. Oh, and Estévez danced beautifully of course.

Victor Estévez in the male solo from *Swan Lake* Act I. Queensland Ballet’s *60 dancers: 60 stories*, 2020.

As with week 1, I loved the changing backgrounds: the sea, the sky, the lakes, the parks, the backyards, the interiors and so forth. Neneka Yoshida almost made me cry when I read her note about looking up at the sky, and I loved the reflections in Lina Kim’s beautiful dance through the landscape in her ‘Come with’. But then I couldn’t help laughing at the fun that Patricio Revé, Oscar Delbao and Charlie Slater were having in ‘Comrades’. Some great unison dancing there as well.

Neneka Yoshida in ‘After Glow of a Nocturne’. Queensland Ballet’s *60 dancers: 60 stories*, 2020.

Musically too the series is a treat with such beautiful playing by the members of Queensland Ballet’s music team who have not only played accompaniments but even, in some cases, offered their own original creations for use in the project.

Again my comments are very personal and I have mentioned just a few from week 2. Take a look. It’s worth it. 60 dancers: 60 stories

Michelle Potter, 16 June 2020

Featured image: Chiara Gonzalez in ‘Self Portrait’. Queensland Ballet’s 60 dancers: 60 stories, 2020.

Cinderella. Queensland Ballet

7 September 2018. Lyric Theatre, Queensland Performing Arts Centre, Brisbane

Ben Stevenson’s Cinderella, which Queensland Ballet performed in its latest season, was first made in 1970, almost 50 years ago. I’m afraid it is showing its age a little. While Queensland Ballet’s dancers go from strength to strength every time I see them, I think they need something more powerful to dance than this Cinderella. Perhaps there is an issue here too in that Alexei Ratmansky’s Cinderella, in which the story has been given a new touch, has had several showings in Australia recently and is due to be seen in Sydney again shortly.

Having had my first professional engagements in pantomime, it was interesting, however, to see the way Stevenson built the Stepsisters (Vito Bernasconi and Camilo Ramos) into the show—outrageous behaviour, over the top costumes, pratfalls everywhere, and of course the roles taken by men. But this kind of acting/dancing belongs to the 1960s (and earlier) when it was a panto tradition. We have moved on a little.

Vito Bernasconi as a Stepsister in Cinderella. Queensland Ballet, 2018. Photo: David Kelly — Vito Bernasconi as a Stepsister in *Cinderella*. Queensland Ballet, 2018. Photo: © David Kelly

But on the whole the ballet was nicely danced. Liam Geck as the Jester in the ball scene was outstanding but, again, a jester is such an old-fashioned tradition, this time from Russia. So while his performance was spectacular it was frustrating that there was a jester in there. Why?

All the fairies, Spring (Lina Kim), Summer (Mia Heathcote), Autumn (Neneka Yoshida) and Winter (Georgia Swan), acquitted themselves beautifully, as did Yanela Piñera as Cinderella. Joel Woellner was a very traditional Prince.

Yanela Piñera as Cinderella. Queensland Ballet, 2018. Photo: © David Kelly

This Cinderella is not my favourite ballet. But it did please most of the people in the audience.

Michelle Potter, 12 September 2018

Featured image: Liam Geck as the Jester in Cinderella. Queensland Ballet, 2018. Photo: © David Kelly

La Fille mal gardée. Queensland Ballet

9 August 2017. Playhouse, Queensland Performing Arts Centre, Brisbane

It is always refreshing to see a different version of a well-known work. And so it was with Queensland Ballet’s La Fille mal gardée. The version that is well-known to many Australian dance-goers is by Frederick Ashton, which Ashton made for the Royal Ballet in 1960, and which has been in the repertoire of the Australian Ballet since 1967 (although it hasn’t been shown for several years). On the other hand, Queensland Ballet, in a co-production with West Australian Ballet, staged a relatively new version by French-born, freelance choreographer Marc Ribaud, which he made in 2000 for the Nice Opera Ballet.

Ribaud has retained the basic narrative. It follows the story of Lise and Colas who wish to marry, but whose wishes are thwarted by Lise’s mother, the Widow Simone—she would prefer that Lise marry the eccentric and wealthy Alain whose greatest love is for his umbrella. But the overall tone of Ribaud’s Fille, which is set in the south of France in the 1950s, is quite different from that in the Ashton work. The choreography for Ribaud’s work is classically based but is boisterous and full of fast-paced dancing. It seems to fill the stage in an entirely different way from Ashton’s work, which seems very English in its rather gentle and considered choreographic approach. Ribaud’s Fille, at least with the cast I saw, also has strong overtones of slapstick. While Ashton gives us references to pantomime, his are much more restrained. Perhaps more subtle?

Ribaud has also retained some audience favourites from the Ashton version, albeit with changes. The famous clog dance is there although the Widow is accompanied by four village lads who tap away beside her as she goes through her clog routine. The chicken dance is also there but in a variant form. There are no dancers dressed in chicken outfits, just four male friends of Colas and Lise, dressed in jeans and giving us chicken-like gestures—chins poking forward as they move, hands with fingers spread to represent a chicken’s comb and so on. It was hilarious and very clever.

As Lise, Lina Kim with her smooth and lyrical technique was absolutely charming—it was her first performance in the role too. She showed such a variety of emotion, depending on who else was involved at any one time, and her mime scene in the last act, when she imagines what might be should she marry Colas, was just gorgeous, as was her later embarrassment when she thought Colas had seen her. Shane Wuerthner was an ardent Colas and in the opening pas de deux set the scene beautifully for what was to follow. I was impressed, in fact, with all Ribaud’s pas de deux, which often reminded me of the style of Bournonville as so often Lise and Colas danced side by side in a complementary manner rather than the man having a more supportive role. That is not to say, of course, that there were no lifts and, in fact, when they occurred they varied from soaring lifts to shapes, often with upturned feet, in which Lise’s body wrapped round or curled up to that of Colas.

Despite a little trouble with his umbrella (it broke) and his hat, Ze Wu gave a strong performance as Alain and I look forward to seeing more of him in the future—his technical range looks prodigious. The umbrella and hat problems were beautifully and professionally handled by the cast, to the extent that the Widow Simone adopted the broken umbrella and stroked it lovingly! Joel Woellner as the Widow was totally outrageous. He was the slapstick hero(ine) and milked the audience at every opportunity. And of course the audience loved it and responded with laughter and cheers. And I enjoyed that Lina Kim gave back the way she did every time she was scolded.

Costumes by Lexi De Silva, sets by Richard Roberts and lighting by Jon Buswell provided a great background for the dancers of Queensland Ballet. Music was performed by Camerata—Queensland’s Chamber Orchestra and conducted with his usual skill by Nigel Gaynor. This Fille is a little gem and Queensland Ballet continues to show what a terrific company it has become. Bouquets to all.

(I have no images of the cast I saw, unfortunately. But below are some from another cast.)

Jack Lister as the Widow Simone and Camilo Ramos as Alain in 'La Fille mal gardee. Photo: David Kelly

Victor Estevez as Colas in 'La Fille mal gardee'. Queensland ballet 2017. PhotoArtists of Queensland Ballet in 'La Fille mal gardee', 2017. Photo: © David Kelly

Artists of Queensland Ballet in 'La Fille mal gardee', 2017. Photo: © David Kelly — Artists of Queensland Ballet in *La Fille mal gardée*, 2017. Photos: © David Kelly

Michelle Potter, 12 August 2017

Featured image: Artists of Queensland Ballet in La Fille mal gardée, 2017. Photo: © David Kelly

Liz Lea in a study for a forthcoming show, 'RED'. Photo: © Nino Tamburri

Dance diary. November 2016

Canberra Critics’ Circle Awards: Dance 2016

The Canberra Critics’ Circle, a group of Canberra-based, practising critics from across art forms, presented its annual awards in November. Two awards were given in the dance area.

Liz Lea: For her innovative promotion of dance in the ACT exemplified by her co-ordination and presentation of “Great Sport!” at the National Museum of Australia, which spectacularly showcased the work of The Gold Company, Dance for Parkinson’s, Canberra Dance Theatre, and of a number of local and interstate choreographers, in a memorable and remarkable presentation.

Alison Plevey: For her tireless and consistent efforts as a dancer, choreographer and facilitator towards advancing professional contemporary dance in the A.C.T through her performances, collaborations, and programs, culminating in the establishment of her dance company, Australian Dance Party.

Alison Plevey (left) in 'Strings Attached', Australian Dance Party 2016. — Alison Plevey (left) in *Strings Attached*, the inaugural show from Australian Dance Party, 2016. Photo: © Lorna Sim

As indicated in the citations, both Plevey and Lea have contributed to the growth of a renewed interest in dance in Canberra. A preview of Plevey’s forthcoming show, Nervous, is below under ‘Press for November 2016’. My review of Great Sport!, facilitated, directed, and partly choreographed by Lea is at this link.

The Nutcracker: Queensland Ballet

A second viewing of Queensland Ballet’s Nutcracker, with a change of cast, had some new highlights. Neneka Yoshida was a gorgeous Clara. She was beautifully animated and involved throughout and there were some charming asides from her with other characters during those moments when she wasn’t the centre of attention. Mia Heathcote took on the role of Grandmother, a role that couldn’t be further from her opening night role as Clara. But she created a very believable character and, as we have come to expect, never wavered from her characterisation. Tim Neff was a totally outrageous Mother Ginger and Lina Kim and Rian Thompson gave us a thrilling performance as the leading couple in the Waltz of the Flowers.

Another exceptional performance from Queensland Ballet.

Ella. A film by Douglas Watkins

Ella, which premiered earlier in 2016 at the Melbourne International Film Festival, traces the journey of Ella Havelka from a childhood spent dancing in Dubbo, New South Wales, to her current position as a corps be ballet member of the Australian Ballet. My strongest recollection of Havelka with the Australian Ballet is her dancing with Rohan Furnell as the leading Hungarian couple in Graeme Murphy’s Swan Lake when I called their performance ‘very feisty’.

Scene from the film 'Ella' — Scene from the film *Ella*, 2016

I found the film largely unchallenging, however, and footage of Havelka dancing with Bangarra Dance Theatre was far more exciting to watch than that showing her with the Australian Ballet. Not only that, the commentary from Stephen Page on the nature of Bangarra, and Havelka’s role as an Indigenous Australian in that company, was far more pertinent and gutsy than the rather non-committal remarks from interviewees from the Australian Ballet. An opportunity missed from several points of view?

Royal New Zealand Ballet

Royal New Zealand Ballet is seeking a new artistic director to replace Francesco Ventriglia who will leave his position in mid-2017. Ventriglia will depart ‘to pursue international opportunities.’ Before he departs New Zealand he will take on the new role of guest choreographer to stage his own production of Romeo and Juliet in August. His planned repertoire for 2017 includes works by Roland Petit and Alexander Ekman.

Late news: Ruth Osborne

Ruth Osborne, artistic director of QL2 Dance in Canberra, has been awarded a Churchill Fellowship to pursue her interest in developing dance projects for young people. More in a future post.

Press for November 2016

‘Wonderful version of Christmas classic.’ Review of The Nutcracker from Queensland Ballet. The Canberra Times, 25 November 2016, p. 37. Online version.

‘Under the microscope.’ Preview of Nervous from Australian Dance Party. The Canberra Times —Panorama, 26 November 2016, p. 15. Online version.

Michelle Potter, 30 November 2016

Liz Lea in a study for a forthcoming show, 'RED'.

The Nutcracker. Queensland Ballet

23 November 2016, Canberra Theatre Centre

Below is an expanded version of my Canberra Times review of Queensland Ballet’s Nutcracker.

Across the world The Nutcracker is the quintessential Christmas experience. Children grow up knowing the story of Clara, and the Nutcracker Prince who takes her on a journey through a snowy forest to the Kingdom of Sweets. Those children (and their parents) look forward throughout the year to its annual return. It used to be a wonderful Christmas experience enjoyed each year by Australian dance audiences too, but that was long ago. Now we have occasional productions but none of the annual excitement. Recently, however, under the energetic and committed direction of artistic director, Li Cunxin, Queensland Ballet has begun to bring back the annual tradition of a Nutcracker Christmas. This year Canberra has been included as part of Queensland Ballet’s season. How lucky we are.

Every Nutcracker has its own character and every production has slight differences in how the story unfolds. Queensland Ballet’s production is by American-based choreographer Ben Stevenson, who currently directs Texas Ballet Theater in Fort Worth. It was Stevenson who, while directing Houston Ballet from 1976–2003, gave Li the chance to dance in the West when, while visiting Beijing, he offered Li a scholarship to appear in Houston. Since then Li has gone on from a major career as a dancer, including as a principal with the Australian Ballet, to his present position with Queensland Ballet.

Stevenson’s Nutcracker has a warm and homely atmosphere to its opening scenes. Children cross the stage in excitement and anticipation. Some drag their parents behind them. Some ride a sled. Some older people slip on the icy surface. They enter a house, complete with sparkling Christmas tree, where young and old mingle, laugh, eat and drink, dance, play (and have the odd argument), and exchange presents. Clara, youthfully and prettily danced by Mia Heathcote, is given a nutcracker doll by a mysterious visitor, Dr Drosselmeyer (Shane Wuerthner), and the story revolves around this toy. There is a strong comic element to the party scene, and there are more elderly characters than is often the case. Thomas Boyd’s set has a charmingly unpretentious and hospitable quality to it. It all makes for a genial gathering.

Mia Heathcote as Clara in 'The Nutcracker', Queensland Ballet, 2016. Photo: © David James McCarthy — Mia Heathcote as Clara in *The Nutcracker*, Queensland Ballet, 2016. Photo: © David James McCarthy

When the party is over and the guests have departed Clara is woken from her sleep by giant mice who attack her. A fight ensues and Clara kills the King Rat (Rian Thompson) with her shoe before her nutcracker toy is transformed into the Prince (Alexander Idaszak) and the journey to the Kingdom of Sweets begins. When she arrives, Clara is entertained by the inhabitants of the Kingdom, from the pastry cooks to the Sugar Plum Fairy (Yanela Piñera). Finally we find Clara and her toy nutcracker back at home. And we wonder if we, and Clara, have been dreaming?

Queensland Ballet tells the story clearly and smartly and the company dances this Nutcracker to perfection. The corps de ballet shone at every moment whether as snowflakes, life-sized toy soldiers, flowers, or other characters. The snowflakes were dazzling and the Snow Queen (Laura Hidalgo) danced an exceptional pas de deux with the Prince. Hidalgo had such a lyrical quality to her movement, and a beautifully fluid upper body. Every single movement was impressively defined, so much so that she looked as though she was dancing in slow motion. She was attentively partnered by Idaszak, who danced strongly but somehow gently and softly as well. But the flowers in the second act Waltz of the Flowers just amazed me with a series of pretty much perfect double pirouettes, moving across the stage in twos and performing in canon. They were led beautifully by Teri Crilly and Camilo Ramos. And everyone looked as though they loved dancing—no ‘pasted on’ smiles here. Wonderful to see.

Of the other divertissements in the Kingdom of Sweets it was quite special to see Mother Ginger (Liam Geck). This variation rarely appears in other productions but is a delightful sequence in which several children appear from beneath the huge, hooped skirt of a very tall, motherly (if somewhat outrageous) figure. The Mirlitons remained as a pas de trois but danced, instead of the usual three ladies, by two ladies and a man (Tara Schaufuss, Neneka Yoshida and Zhi Fang). The Chinese Dance (D’Arcy Brazier and Zuquan Kou) had an unusual martial arts twist; Spanish was a pas de six with the dancers dressed (by Desmond Heeley) in stunning red and black outfits; and the Russian was a solo for Vito Bernasconi. The audience favourite, however, was the Arabian Dance with Lina Kim and Joel Woellner. Their sinuous pas de deux was highlighted by a fabulous lift with Kim upside down in splits being tilted backwards while in the air.

And the choreographic highlight, the pas de deux and variations of the Sugar Plum Fairy and the Prince, was worth waiting for. I have admired Yanela Piñera in other recent Queensland Ballet productions and, as the Sugar Plum Fairy, she again showed her clean, strong technique. This time I especially admired her lovely little twists of the neck and a beautifully executed double turn in attitude that was done as a supported finger turn. She was partnered by Idaszak as the Prince, who once again was a most attentive partner.

There were so many charming, memorable moments, but in the end this evening stood out as a heart-warming performance of a much-loved ballet by a company that in recent years has gone from strength to strength. Despite funding issues, mentioned by Li Cunxin in his post-performance speech, Queensland Ballet stands tall and proud as a company that cares about the art form and its future. May they return many times to Canberra. We are ready and waiting.

Disclaimer: I had two family members in the children’s cast of Queensland Ballet’s Nutcracker.

Michelle Potter, 25 November 2016

Featured image: Yanela Piñera and Alexander Idaszak as the Sugar Plum Fairy and the Prince in The Nutcracker, Queensland Ballet, 2016. Photo: © David James McCarthy

Yanela Pinera and Alexander Idaszak as the Sugar Plum Fairy and the Prince in 'The Nutcracker', Queensland Ballet, 2016. Photo: © David James McCarthy

On a personal note: I was (rightly) required by The Canberra Times to include a disclaimer to my review as I had two grandsons performing in the children’s cast. But I have to say that I am thrilled that these two young boys will grow up knowing the excitement of The Nutcracker as a Christmas ballet, and knowing the full ballet rather than a version downsized for children!

The online Canberra Times review is at this link.

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