Adam Bull and Coco Mathieson in 'Aurum'. The Australian Ballet, 2018. Photo:Scene from 'Filigree and Shadow'. The Australian Ballet, 2018. Photo: © Jeff Busby

Dance diary. March 2023

Unintentionally, this month’s dance diary has a focus on retirements, resignations, the act of moving on and other activities associated with change. Dance is a moving art form.

Adam Bull retires

Adam Bull, principal with the Australian Ballet since 2008, has announced his retirement from the company at the end of June 2023. Bull has danced major roles in classical and contemporary works across the range of the Australian Ballet’s repertoire including works by Kenneth MacMillan, George Balanchine, Graeme Murphy, Christopher Wheeldon, Wayne McGregor. Jiri Kylian, David McAllister, Alice Topp and others. His final performance will be in Melbourne in June in Topp’s new work Paragon, part of the 2023 triple bill Identity.

I have admired Bull’s performances whenever I have seen him, including in roles that have occasionally had not so much dancing in them. His performance as the figure of Death in Graeme Murphy’s Romeo and Juliet stands out for example. Then, still clear in my mind is his performance with Lana Jones in Balanchine’s Ballet Imperial, which did require a lot of dancing, as did his role in Alice Topp’s Aurum! And perhaps not so well known, since it only ever had eight performances in Brisbane, was his role of the Prince in Graeme Murphy’s The Happy Prince.

His artistry has crossed boundaries and his presence will be missed. Who knows when and where we might see him again?

Adam Bull in 'The Happy Prince'. The Australian Ballet, 2020. Photo: © Jeff Busby — Adam Bull as the Prince in *The Happy Prince.* The Australian Ballet, 2020. Photo: © Jeff Busby

Here is the Adam Bull tag for this website.

Jacob Nash moves on from Bangarra

I was a little taken aback I have to say to learn that Jacob Nash, designer for Bangarra for more than ten years, is moving on. I have admired Nash’s contribution to Bangarra in many situations and in my discussion of Stephen Page’s 2015 film Spear I wrote of Nash’s contribution, ‘As in his sets for Bangarra’s live shows, Nash has brought to the film an understanding of the power of minimalism in design.’ But I also remember very clearly seeing an installation in an exhibition, Ecocentrix. Indigenous Arts, Sustainable Acts, in London in 2013, in which his contribution was not especially minimal. Nash’s work on this occasion was multi-layered and quite mysterious in its impact. Below on the left is an image of that installation, while on the right is his set design for the 2016 work Miyangan. I look forward to seeing more of Nash’s art wherever he continues to practice.

Jacob Nash installation, Ecocentrix 2013 — (left) Jacob Nash, Installation for *Ecocentrix. Indigenous Arts, Sustainable Acts*, London 2013. Courtesy Helen Gilbert; (right) Jacob Nash’s set for *Miyangan*, Bangarra Dance Theatre 2016. Photo: Michelle Potter

(left) Jacob Nash, Installation for *Ecocentrix. Indigenous Arts, Sustainable Acts*, London 2013. Courtesy Helen Gilbert; (right) Jacob Nash’s set for *Miyangan*, Bangarra Dance Theatre 2016. Photo: Michelle Potter

Here is the Jacob Nash tag for this website.

Moves afoot in Western Australia

Artistic director of West Australian Ballet, Aurelian Scannella, will leave the company at the end of 2023. Scannella has been with West Australian Ballet for ten years and has been responsible for introducing many new works as well as staging the classics. Taking his place in 2024, for what is listed as a temporary appointment, will be David McAllister currently on a temporary appointment as artistic director with Royal New Zealand Ballet in Wellington following the retirement of former director Patricia Barker.

More on Don Quixote

After watching the streaming of the 2023 staging of Don Quixote I was inspired to go back to watch again the film made in 1972. But I also went back to two oral history interviews I recorded for the National Library of Australia: one with Lucette Aldous in 1999, and one with Gailene Stock in 2012. Both Aldous and Stock talk about their experiences during the making of the film—Aldous at some length, Stock about a particular incident relating to Nureyev. Both interviews are available online and, with each one, the section of the interview relating to the film is easily accessible by keying ‘Don Quixote’ into the search box at the beginning of each interview (after accepting the conditions of the licence agreement). Happy listening. It’s worth it!

Lucette Aldous interview. Gailene Stock interview.

Rudolf Nureyev as Basilio in *Don Quixote*. 1972. Still from the film.

Lynn Seymour (1939-2023)

Canadian-born dancer, Lynn Seymour, has died in London aged 83. Seymour had an extensive career as a principal dancer with several major ballet companies. There are a number of obituaries available online and here is a link to the one I admire most, written by Jane Pritchard for The Guardian.

None of the obituaries that I have read mentions Seymour’s appearances in Australia and New Zealand during a Royal Ballet tour in 1958 and 1959 but she made her debut as Odette/Odile in Swan Lake during that tour and garnered mostly excellent reviews. My previous discussions of Seymour on this website, which relate to that tour, were written early in 2017 and have been somewhat controversial. But they continue to be accessed six years later. See this link, which also contains a link back to the controversy.

Lynn Seymour. Autograph and program image. The Royal Ballet, Melbourne 1958 — Lynn Seymour, program image and autograph. The Royal Ballet Australasian Tour, 1958

Michelle Potter, 31 March 2023

Featured image: Adam Bull and Coco Mathieson in Alice Topp’s Aurum. The Australian Ballet 2018. Photo: © Jeff Busby

Don Quixote. The Australian Ballet (2023)

This post contains two reviews of the 2023 Don Quixote. The first and longer one is of the digital screening; the second, shorter one refers, with particular reference to one dancer, to a matinee performance I saw in Sydney towards the end of the season.

Digital screening, March 2023. (Filmed live on 24 March 2023, Arts Centre, Melbourne)

This production of Don Quixote is meant to pay homage to the 1973 Australian Ballet film of the work and, in fact, has been spoken of as being ‘transposed from screen to stage’, especially with regard to the set. The early film production was choreographed by Rudolf Nureyev and was directed by Nureyev in conjunction with Robert Helpmann. Helpmann played the role of the Don, Nureyev was Basilio and Lucette Aldous danced Kitri/Dulcinea. To tell the truth I’m not sure why the ‘screen to stage’ comment was necessary as the ballet stands by itself without any pretence that it is a transposition. The 1970s film is, however, worth watching, especially now that it has been restored and remastered in high definition. It contains some exceptional performances, especially from Lucette Aldous whose performance in my opinion outshines that of Nureyev.

But to the production of 2023. I found this staging beautifully paced and full of action from every performer. Ako Kondo and Chengwu Guo as the leading characters were just brilliant, both technically and in terms of the emotional and dramatic relationship they built up between them. They also dance so well as partners with bodies and limbs moving smoothly together and with complementary line through the two bodies always obvious. Then there were those amazing moments when Guo lifted Kondo into the air and held her there with one hand (as seen in the featured image). The music paused momentarily for us to have a good look! Spectacular.

Ako Kondo and Chengwu Guo in *Don Quixote* Act I. The Australian Ballet, 2023. Photo: © Rainee Lantry

Adam Bull was an impressive Don Quixote. He had worked on a particular portrayal of the Don and maintained the behaviour of his character from beginning to end. He was eccentric but introspective and contemplative, and I got the feeling he was lost in another world, a world where windmills can be monsters and dreams can become reality in his mind. What I liked was that his character was strong but without any overplay.

Adam Bull as Don Quixote in *Don Quixote*, Prologue. The Australian Ballet, 2023. Photo: © Rainee Lantry

Amy Harris as the Street Dancer performed nicely but I would have liked a little more colour in her characterisation. Sharni Spencer as the Queen of the Dryads managed her difficult variation skilfully and Yuumi Yamada was a charming Cupid. A highlight of the last act (apart from the grand pas de deux from Kondo and Guo) was an exciting Fandango danced by sixteen, magnificently dressed dancers led by Dana Stephensen and Nathan Brook.

Ludwig Minkus’ score was played by Orchestra Victoria conducted by Charles Barker, who was, I am assuming, visiting from New York. As with other conductors whom I admire, Barker ensured that the music and the dance worked beautifully as one. Then, as part of the curtain calls the dancers moved forward and, with a simple sweep of the arm, acknowledged the orchestra. It was a perfect, dancerly, elegant acknowledgement rather than the lengthy clapping by the dancers leaning towards, almost into, the pit that we have had to get used to over the past 20 years or so from the Australian Ballet.

The streaming also featured David Hallberg and Catherine Murphy discussing various aspects of the production with some segments featuring various artists associated with the production, including backstage staff.

Michelle Potter, 28 March 2023

22 April 2023 (matinee). Joan Sutherland Theatre, Sydney Opera House

Apart from the fact that there is ‘nothing like being there’ as the saying goes, most of my comments above from watching the streamed version of the Australian Ballet’s 2023 Don Quixote apply equally to the live performance I saw towards the end of the company’s Sydney season. The Australian Ballet is, in general, dancing beautifully, even stunningly at the moment. Apart from the technical standard being high, there seems to be an inherent joy emanating from the dancers. And what’s more I don’t feel the need to complain about the production looking squashed on the Sydney Opera House stage. For some reason (perhaps the joy mentioned above?), instead of looking squashed the production looked intimate. What a thrill!

But the highlight of the afternoon came from Yuumi Yamada dancing the leading female role of Kitri/Dulcinea. She isn’t a tall dancer, but then nor was Lucette Aldous in the Nureyev/Helpmann film made in 1972. As Kitri/Dulcinea Aldous gave Nureyev a run for his money. Yamada was, similarly, a deliciously feisty Kitri in Act I and was outstanding technically throughout. It was a performance that I feel privileged to have seen. Yamada was partnered by Brett Chynoweth as Basilio.

I also admired the dancing of Lilly Maskery as Cupid in Act II. She has a good presence onstage and gave the role a characterisation that attracted the eye, as well as dancing strongly. I look forward to seeing more of her work.

Unfortunately, I have no images of the cast from this matinee performance.

Michelle Potter, 25 April 2023

Featured image: Ako Kondo and Chengwu Guo in Don Quixote, ACT I. The Australian Ballet, 2023. Photo: © Rainee Lantry

Lucette Aldous, AC (1938-2021)

One of Australia’s best known and most admired ballerinas, Lucette Aldous, has died in Perth at the age of 82.

New Zealand-born, Lucette Aldous trained in Brisbane with Phyllis Danaher and then in Sydney at the Scully-Borovansky School where her main teacher was Kathleen Danetree. She was awarded the Frances Scully Scholarship to continue her training overseas and entered the Royal Ballet School in London in 1955.

In 1957 she began her professional career with Ballet Rambert where she danced not only the classics like Giselle and Coppélia and but also early works by Antony Tudor, Frederick Ashton, Walter Gore, John Cranko and Kenneth MacMillan. Her time with Rambert also included a 1957 tour to China.

Following her time with Rambert she danced with London Festival Ballet and then with the Royal Ballet (second company). It was while working with the Royal Ballet that she first performed with Rudolf Nureyev, partnering him in Nutcracker during a European tour.

Her partnership with Nureyev blossomed after she returned to Australia in 1970. She joined the Australian Ballet that year and danced the role of Kitri to Nureyev’s Basilio in Don Quixote, jointly directed by Nureyev and Robert Helpmann. The role of Kitri particularly suited Aldous’ vivacious and effervescent personality. She also performed with extraordinary technical accomplishment both on stage and in the film version, which premiered in 1973, when she truly gave Nureyev a ‘run for his money’ —no easy feat. Over her career she did, however, dance the role with others.

(left) Rudolf Nureyev as Basilio and Lucette Aldous as Kitri in *Don Quixote*. The Australian Ballet, 1970, National Library of Australia; (right) Gary Norman as Basilio and Lucette Aldous as Kitri in *Don Quixote*. The Australian Ballet, 1972, National Library of Australia. Both photos: Walter Stringer

Lucette Aldous and Robert Helpmann in rehearsal for the film, 'Don Quixote', the Australian Ballet 1972. Photo: Don Edwards — Lucette Aldous and Robert Helpmann in rehearsal for the film production of *Don Quixote*. The Australian Ballet 1972. Photo: Don Edwards. National Library of Australia

Aldous danced a wide variety of roles while with the Australian Ballet and another milestone in her career occurred in 1975 when Ronald Hynd created the role of Valencienne on her in his production of The Merry Widow. During the 1970s Aldous continued to guest with companies in England, America and Europe and had a featured role with Fernando Bujones in the film The Turning Point.

Kelvin Coe and Lucette Aldous in Frederick Ashton’s *The Two Pigeons*. The Australian Ballet, 1975. Photo: Walter Stringer. National Library of Australia

After retiring from full-time performing in the mid 1970s Aldous taught at the Australian Ballet School and then in 1982 joined the faculty of the West Australian Academy of Performing Arts (WAAPA), Edith Cowan University, Perth. She and husband Alan Alder, whom Aldous had married in 1972, also spent a number of months in St Petersburg studying the teaching methods and philosophy behind the Vaganova system of training as espoused by the Kirov ballet school. Aldous has also been an advocate of Boris Kniaseff’s floor barre as a system of training.

After retiring from full-time work at WAAPA, Aldous continued to live in Perth and to coach, adjudicate and teach.

In 1999 Aldous received an honorary doctorate from Edith Cowan University while at the Australian Dance Awards she received the award for Services to Dance in 2001 and Lifetime Achievement in 2009. In the Australia Day Honours List of 2018 she was made a Companion of the Order of Australia (AC).

Lucette Aldous is survived by her daughter, Floeur Alder.

Lucette Aldous: born Auckland, New Zealand, 26 September 1938; died Perth, Australia, 5 June 2021

Michelle Potter, 6 June 2021

Some resources:
Lucette Aldous was interviewed for the National Library of Australia’s oral history program in 1999. The interview is available online and is full of information about her background as well as containing many fascinating anecdotes about those she worked with during her extensive career. Listen at this link.

Aldous has also featured in a 2001 film by Michelle Mahrer, The Three Ballerinas. She appears along with Marilyn Rowe and Marilyn Jones in the trailer below.

She also appears in Sue Healey’s On View Series. Read a little about it at this link.

Lucette Aldous in a sitll from Sue Healey's short film 'Lucette Aldous'. — Lucette Aldous in stills from Sue Healey’s short film *Lucette Aldous*

Featured image: Portrait of Lucette Aldous as Kitri in Don Quixote. The Australian Ballet, 1970. Photo: Walter Stringer. National Library of Australia

Alan Alder as Hakuryo in Robert Helpmann's 'Yugen'. The Australian Ballet 1965. Photo: Walter Stringer

Alan Alder (1937–2019)

Alan Alder, who has died in Perth at the age of 82, was born in Canberra of Scottish/Australian parentage. In Canberra he initially studied tap and Scottish highland dancing with June Hammond. Later, while at Canberra High School, he took ballet lessons with Barbara Todd, a former Sadler’s Wells Ballet soloist who had come to Canberra when her husband took up an appointment at the Australian National University.

Winning a scholarship to the Royal Ballet School in 1957, he studied there for a short time, largely with Harold Turner, before joining the Covent Garden Opera Ballet, where he worked for the next twelve months. His experiences with that company included dancing in productions featuring artist such as Joan Sutherland and Maria Callas. ‘It was an incredible education I had in that one year,’ he recalled in an oral history interview conducted in 1999.

In 1958 Alder joined the Sadler’s Wells Royal Ballet. He was promoted to soloist and toured extensively with the company throughout Europe, Australia, New Zealand, Japan, and South Africa over the next four years. His touring schedule included the 1958-59 tour to Australia and New Zealand. Of his experiences on tour in Australia he recalled, in addition to the variety of roles he performed, a total blackout in Sydney’s Empire Theatre. ‘There was John Field onstage with hurricane lamps rehearsing the swans in the second act of Swan Lake,’ he said. He also remembers ‘Midnight Matinees’ towards the end of the Australian tour, which were fundraisers for victims of bush fires that devastated areas of Australia in 1958.

Alan Alder in *Coppelia*. Royal Ballet Australasian tour, 1958. Photo: Walter Stringer

At the invitation of Peggy van Praagh, Alder returned to Australia in 1963 to join the Australian Ballet as a senior soloist. He was promoted to principal artist in 1969, and later was a guest artist with the company from 1978 to 1980. With the Australian Ballet Alder danced many principal roles in a wide selection of ballets. He scored particular success as Alain in La Fille mal gardée, a role he danced initially with the Royal Ballet in 1961, and again with the Australian Ballet on many occasions from 1968 onwards. But other works, new and old, in which he took leading roles included Melbourne Cup, Threshold, Sebastian, Giselle, Pineapple Poll, Lady and the Fool, Othello, Romeo and Juliet, Yugen, and Carmen.

Alan Alder as Jasper the Pot Boy with Maria Lang in *Pineapple Poll*. The Australian Ballet, 1976. Photo: Walter Stringer. National Library of Australia

Alder married fellow dancer Lucette Aldous in 1972. In the mid 1970s both Alder and Aldous were invited by the Russian ministry of culture to study teaching methods in the USSR. In St Petersburg they studied Boris Kniaseff’s floor barre and the Vaganova system of training. The opportunity to visit Russia came at a time when the Department of Foreign Affairs and Trade had just signed a cultural agreement with the USSR and Alder and Aldous were the first Australians to go to Russia under that agreement. Alder recalled:

‘We gained tremendous insight into the ideology of Agrippina Vaganova and also, in the short amount of time we had, we crammed as much as we could into learning on our bodies how to pass on that system, not necessarily just the choreography of the actual exercises, the enchainments, but the reason behind doing them.’

Following his departure from the Australian Ballet in 1980, Alder took up part-time teaching with Dame Margaret Scott and Anne Woolliams. In 1983 he was appointed to head up the dance department at the Western Australia Academy of Performing Arts, Edith Cowan University, a position he held until 1991. He then took up a teaching position at the Perth Graduate College of Dance. His involvement with Ausdance (WA) began in 1987 and his contribution to that organisation was recognised with a life membership.

In 2004, Alder and Aldous were jointly recognised as State Living Treasures by the Government of Western Australia. The citation included the words ‘outstanding contribution to dance’ and ‘dedication as advocates for the development of dance in Western Australia.’

Alan Richard Alder. Born Canberra, 14 September 1937; died Perth, 15 July 2019

Featured image: Alan Alder as Hakuryo the Fisherman in Yugen. The Australian Ballet, 1965. Photo: Walter Stringer. National Library of Australia.

Michelle Potter, 15 July 2019

Dancers of the Australian Ballet in The Merry Widow, Act III, 2018. Photo: © Daniel Boud

The Merry Widow. The Australian Ballet (2018)

12 May 2018, Joan Sutherland Theatre, Sydney Opera House

If you enjoy sitting in the theatre and being swept away by waltzes and ladies being lifted high in the air by their male partners, along with elaborately decorated costumes and sets and nothing too challenging in the way of storyline, then the Australian Ballet’s Merry Widow is for you. This production was last seen in 2011 but dates back to 1975 when it was commissioned by Robert Helpmann as the first full-length ballet to be made on the Australian Ballet. Choreographed by Ronald Hynd, designed by Desmond Heeley, with music by Franz Lehar arranged by John Lanchbery, and a scenario by Helpmann, it was in the early days closely associated with Margot Fonteyn. She performed the role of the Widow, Hanna Glawari, in Australia as well as elsewhere during guest seasons with the Australian Ballet.

Margot Fonteyn with Kelvin Coe and John Meehan in 'The Merry Widow', 1977. Photo Walter Stringer — Margot Fonteyn with Kelvin Coe and John Meehan in *The Merry Widow*, 1977. Photo: Walter Stringer. National Library of Australia

But Australian Ballet principals of the day, including Marilyn Rowe, Marilyn Jones, Lucette Aldous, John Meehan and Kelvin Coe, and others throughout the years, also made it their own. Rowe was repetiteur for this 2018 production.

In the cast I saw Amy Harris and Brett Simon danced the leading roles of Hanna Glawari and Count Danilo Danilowitsch, former childhood sweethearts whose attraction to each other is eventually renewed. While they both danced strongly, for me their involvement in the unfolding story was not the highlight of the show. On the other hand, I admired Sharni Spencer and Joe Chapman as the secondary leads of Valencienne and Camille, the Count of Rosillon. They invested more into the realisation of their characters and, as a result, were much more captivating to watch. And their pas deux in Act II, was really the choreographic highlight amongst all the waltzes and other predictable steps.

There was some strong character work from the male corps de ballet of Pontevedrian dancers in Act II and my attention was especially drawn to a gentleman, who I think was Joseph Romancewicz. He not only danced well but maintained his character when not dancing. It doesn’t always happen and when it does it is very noticeable.

Audiences love this ballet and it is clearly a money-spinner for the Australian Ballet, but after more than forty years I think it needs a redesign. Heeley’s costumes are individually glamorous and suitably of the Belle Epoque period, if sometimes rather too strongly coloured. But when seen en masse against his over lavish sets, and when lit with strong theatrical lighting, the overall design is unsubtle and inelegant to the point of seeming tasteless.

Michelle Potter, 13 May 2018

Featured image: Dancers of the Australian Ballet as Can Can ladies in The Merry Widow, Act III, 2018. Photo: © Daniel Boud

Dance diary. March 2018

La Scala Ballet

Queensland has scored another coup in its QPAC International Series with La Scala Ballet from Milan to perform in Brisbane in November 2018. The company will perform two works, Don Quixote (Nureyev production) and Giselle. Further details at this link.

In the footsteps of Ruth St Denis

Liz Lea’s film that follows the trail of Ruth St Denis and others in India in the early part of last century is due for its first screening later this year. Follow this link to my previous post about this venture and stay tuned for further news.

On view. Thinking bodies, dancing minds

An exhibition of Sue Healey’s dance films will be on show in Melbourne from 13–28 April at the Margaret Lawrence Gallery, Dodds Street, Melbourne (VCA). It is in celebration of the 40th anniversary of VCA Dance and will feature films relating to the careers of Lucette Aldous, Nanette Hassall and Shirley McKechnie, former teachers at the College, and recent graduates Shona Erskine, Benjamin Hancock and James Batchelor.

Press for March 2018

‘Emotional power charges an astonishing work.’ Review of RED by Liz Lea. The Canberra Times, 12 March 2018, p. 20. Online version.

Michelle Potter, 31 March 2018

Featured image: Don Quixote, La Scala Ballet. Photo: Marco Brescia and Rudy Amisano

Dance diary. August 2015

New Breed: Sydney Dance Company

Early in August Sydney Dance Company announced the four recipients of commissions to create works for the company’s New Breed initiative. Kristina Chan, Fiona Jopp, Bernhard Knauer and Daniel Riley will present their dances at Carriageworks in a season running from 8 to 13 December. Commissions have also gone to independent designers Matt Marshall and Aleisa Jelbart, and musician/composers Nick Thayer, James Brown, Jürgen Knauer, Toby Merz and Alicia Merz, who will contribute to the creation of the works, which will be performed by artists from Sydney Dance Company.

The four New Breed 2015 choreographers . Photo: Peter Greig — The four ‘New Breed’ choreographers for 2015 (l-r: Fiona Jopp, Kristina Chan, Daniel Riley and Bernhard Knauer). Photo: Peter Greig

Don Quixote: the film

During my recent foray into the career of Lucette Aldous, as a result of Sue Healey’s short film on Aldous, I came across the photograph below.

I had always understood that it was very hot in those Essendon hangars where the Don Quixote production was filmed. From this image it appears that perhaps it was quite cold at times!

Harry Haythorne choreographic awards

The Royal New Zealand Ballet and the Ballet Foundation of New Zealand have announced two new choreographic awards to honour Harry Haythorne, artistic director of Royal New Zealand Ballet from 1981 to 1992. There will be two studio showings of new works choreographed by company dancers who will be in the running for two awards, one to be decided by a panel headed by present artistic director Francesco Ventriglia, and the other a People’s Choice award funded by money raised at the memorial event for Haythorne held in January. Dates for the showings are 12 and 13 September in the Royal New Zealand ballet studios, Wellington.

Press for August

‘Moving tribute to those who served.’ Review of Reckless Valour, QL2 Dance, The Canberra Times, 1 August 2015, p. 16. Online version.

‘Dalman and Jones going into dance Hall of Fame.’ Feature on the 2015 Australian Dance awards, The Canberra Times, 27 August 2015, ‘Times 2’, p. 6. Online version.

Michelle Potter, 31 August 2015

Dance and the ageing body. Sue Healey

15 August 2015, ARC Cinema, Canberra

Recently I posted a review of Sue Healey’s outstanding new work, On View: Live Portraits. On the day I went to see the show, however, a second component of the work, two short films featuring ‘icons’ of Australian dance, Lucette Aldous and Shirley McKechnie, was not being shown. So I was pleased that I was able to catch these two short films in Canberra as part of a session called ‘Dance and the ageing body’ during National Science Week.

Of the two films, one was thrilling, the other interesting, although both showed Healey’s remarkable expertise as a dance film maker. The one that truly shone for its dance component, and for its relevance to the subject of the ageing body and its capacity to continue to move, was that featuring Lucette Aldous, former star of the Australian Ballet and before that of Ballet Rambert and other English companies. Aldous is now 78 and yet she continues to dance daily. The film shows her giving herself a floor barre, which has long been a hallmark of her teaching and her own practice. Then we see her performing a temps lié-style exercise and then dancing outdoors, first on a grassy area in front of a contemporary Australian homestead, and then beside a flowing stretch of water. She is still an absolutely stunning mover. Some parts of the film are shot in slow motion so we can see very clearly the shape of every movement and the space each movement occupies and fills. Breathtaking.

Some of the most exciting parts are when Healey uses excerpts from the Australian Ballet film of Don Quixote in which Aldous famously danced Kitri to Rudolf Nureyev’s Basilio (and I might add gave Nureyev a run for his money). Using a layering technique Healey has Aldous behind a scrim watching and commenting on her performance as Kitri. And in another sequence Aldous dances with a billowing red scarf as we become aware, within the Don Quixote film, of an exchange between Aldous and Nureyev, which features a shawl. It made me hunt out my Don Q DVD and enjoy it again.

Shirley McKechnie in a still from Sue Healey's short film 'Shirley McKechnie' — Shirley McKechnie in a still from Sue Healey’s short film ‘Shirley McKechnie’

The second section focuses on Shirley McKechnie, now 88 and much less mobile than Aldous. McKechnie has influenced many people working in the area of contemporary dance in Australia and, when a stroke left her unable to continue her own practice, she turned to writing, largely in the field of cognition. As a result, this short film is not so much about how to continue to drive the body physically as one ages, but about how to reinvent oneself in order to remain active within the field of dance.

Healey uses photographs to show the ageing process beginning with childhood shots of McKechnie and moving through the decades until we encounter McKechnie as an older woman. Once the film moves to McKechnie as a live subject, she remains seated leafing through a book. Pages of writing flutter through the air and land at her fingertips as the titles and dates of her academic articles are thrown onto the screen. The fluttering pages are pretty much the only movement throughout the film and so it suffers somewhat from being shown alongside ‘Lucette Aldous’ where movement is such a vital and astonishing component.

Although I did not see the films as part of the On View installation, it is easy to imagine how they might fit as part of the whole show, and the triple screen images link nicely with a similar arrangement in the live show. But Healey has a number of ideas on how these films might develop. They deserve to be developed further, perhaps with other ‘icons’ in addition to Aldous and McKechnie. But the issue of how to juxtapose veteran performers so that one doesn’t steal the limelight (deservedly in the case of Aldous) will remain an issue.

Michelle Potter, 17 August 2015

Don Quixote. The Australian Ballet

13 April 2013 (matinee), Joan Sutherland Theatre, Sydney Opera House

My single viewing of the Australian Ballet’s current production of Don Quixote was entertaining, if not theatrically thrilling.

I enjoyed seeing Reiko Hombo and Yosvani Ramos in the leading roles of Kitri and Basilio. The male jota-style variation in Act I suited Ramos beautifully and showed off his neat footwork and the lightness of his jump. His portrayal of Basilio worked really well in Act III when his ‘death’ scene captured a certain craziness and was quite hilarious. But I missed a sense of passion in his encounters with Kitri.

Hombo performed nicely and her technical execution was precise and clear. But again I missed the fiery quality I associate with Kitri and I felt the consequent lack of a strong emotional connection or a sense of physical repartee with Basilio.

What I really liked about the production was the characterisation of the Don, played by Steven Heathcote; Sancho Panza, the Don’s squire played by Frank Leo; and the wealthy Gamache, played by Matthew Donnelly. At last here was an approach that didn’t seem to think that over-the-top behaviour was necessary in these kinds of roles. All were still strong individuals demanding of our attention and thoughts but without the ridiculous pantomime elements that for me went out of fashion years ago.

Amongst the corps and soloists I admired Brett Chynoweth as one of the leading townsfolk, Dana Stephensen as one of Kitri’s friends and Eloise Fryer as Amour. Both Stephensen and Fryer looked wonderful onstage. They were technically assured and dancing as if they loved it. No Don could have resisted Fryer’s arrows! Chynoweth was full on into the action at every moment.

It’s a hard act, still, to follow in the footsteps of Rudolf Nureyev and Lucette Aldous and the cast that made up the first Australian Ballet production way back in the 1970s. But some have followed on brilliantly since then, and maybe some casts that I didn’t see in this season did in fact inject some of the fiery and passionate give and take that makes this ballet a bit more than just interesting entertainment. The subscriber I sat next to yesterday was singing the praises of Lana Jones and Daniel Gaudiello.

And for those who weren’t even born in the 1970s that first Don Q is still available on DVD as a digitally remastered version of the original film.

Lana Jones and Daniel Gaudiello in a publicity shot for *Don Quixote*, 2012. Photo: © Georges Antoni. Courtesy the Australian Ballet

Michelle Potter, 14 April 2013