60th Anniversary Showcase. The Australian Ballet School

12 May 2024. Joan Sutherland Theatre, Sydney Opéra House

The Australian Ballet School’s 60th Anniversary Showcase began with a spectacular work, Grand Défilé, choreographed by Paul Knobloch to excerpts from Alexander Glazunov’s Scènes de ballet Opus 52. I was expecting an interesting display of dancers at various stages of their training moving on and off stage, culminating in a presentation of the senior, graduating students, similar to what we have become used to seeing from schools (and companies) across the world. But I was not prepared for the absolutely spectacular staging that came from the Australian Ballet School. Knobloch’s choreography was thrilling to watch—fast moving with a great use of space (even on the much maligned stage of the Sydney Opera House), and filled with movingly beautiful patterns and groupings of dancers. Besides that, the dancers did themselves and their teachers proud as they carried out the choreography with great skill and a passion that coursed, from beginning to end, through every inch of their bodies. The media image gives no idea of what the real life event was like. What an opening!

Grand Défilé was followed by the grand pas de deux from Le Corsaire performed by guest artists (and Australian Ballet School alumni) Ako Kondo and Chengwu Guo. Both Kondo and Guo performed pretty much faultlessly in a technical sense, with Guo carrying out his incredible jumps, turns and manèges and Kondo displaying her beautiful balance and fluid limbs and upper body. But they had a hard act to follow and somehow their performance lacked the strong characterisation that they usually display.

Then followed Camino Flamenco choreographed by Areti Boyaci, teacher of the Spanish dance program at the Australian Ballet School. It was danced by Level 8 dancers from the School to a score by flamenco guitarist Werner Neumann playing live onstage. They were joined at one point by guest artists (and alumni) Hugo Dumapit, Nathan Brook and Jake Mangakahia. Boyaci herself also made a brief appearance. The costumes, including the gorgeous scarves manipulated by the women, were an exceptional addition to this work but I would have loved a little more theatricality to have been visible in the dancing.

From the printed program: Rehearsal for *Camino Flamenco*. The Australian Ballet School, 2024. Photo: © Frederick Mutswagiwa

Closing the first half of the evening’s program was Paul Knobloch’s Degas Dances in which a young boy (Ruito Takabatake) finds inspiration in a Degas sculpture that comes to life. The work also includes roles for a cross section of students, including a bevy of children who are not always behaving as expected and whom an art teacher (India Shackel) tries to keep under control. It is astonishing too to see the stillness that the dancer (Lilly Keith), who plays the Degas sculpture, is able to maintain as she stands on her pedestal until she is brought to life. But the work is crowded with action and people and I would love to see it stripped back a little.

After interval, the program featured Four Seasons, a work commissioned by Lisa Pavane, outgoing director of the Australian Ballet School, in honour of the School’s 60 years of existence, and in celebration of its future. It was danced to Vivaldi’s Four Seasons and each section was choreographed by a graduate of the School, with each having trained under one of the four (to date) directors. Spring was choreographed by Kevin Jackson, who trained under Gailene Stock; Summer by Lucas Jervies, who trained under Marilyn Rowe; Autumn by Serena Graham, who trained under Lisa Pavane; and Winter by Graeme Murphy, who trained under Dame Margaret Scott.

I especially enjoyed Autumn and Winter. Serena Graham’s choreography for Autumn reminded me at times of Balanchine and the way he connected people in a work. Graham had her dancers linking hands with others and then changing a pairing by unlinking and linking up with someone else. She used space carefully and thoughtfully and her groupings of dancers were sometimes unusually positioned in the space.

But it was Winter that attracted my attention most strongly. It closed the program with an excitement that had characterised the opening, if in a quite different way. Here was Graeme Murphy making us wonder what would happen next. Seven dancers, clad in white and silver unitards, were often wrapped (or hidden) in white cloaks, which looked a bit like doonas. Were they spirits of coldness, or people keeping themselves warm? And who was that eighth figure, mysteriously cloaked and hooded in white? There were surprise moments, such as when one of the dancers became a skater in red boots, and it was then that the ‘doonas’ were discarded and the dancing warmed up. It was recognisably Murphy creating the choreography. His propensity to line bodies up in curving, undulating lines was there, as were his lifts that continued on as bodies were carried around the stage. But most of all it was the narrative of cold that we (or I) could imagine that characterised this Winter. Then at the last minute the mysterious, hooded figure revealed himself. It was esteemed ‘older artist’ Simon Dow who linked the Winter work to the ‘older’ period of the School. Many other thoughts emerged while watching Winter and that’s what I have always loved about Murphy’s work. It always opens our imagination.

There was some beautiful lighting at various stages during the evening especially from Damien Cooper throughout Four Seasons. There was also a large crowd of supporters who cheered, clapped and stamped their feet unreservedly. And rightly so. The evening was a triumph.

Michelle Potter, 13 May 2024

Featured image: Media image for Grand Défilé

Possum Magic. The Ballet. The Australian Ballet School

8 December 2023. The Playhouse, Victorian Arts Centre, Melbourne

I was more than curious when I heard that Loughlan Prior was preparing a ballet based on the much-loved children’s book by Mem Fox, Possum Magic. I mean how on earth was he going to manage the invisibility of Hush, the possum character on whom Grandma Poss casts a spell making Hush disappear from sight in order to save her from danger in the bush? Despite the invisibility, Hush continues to play an ongoing, major role as her visibility slowly reappears. She rarely leaves the stage.

Well I need not have worried. It all happened with cleverly introduced costume changes and terrific input from the other characters who acted beautifully throughout to stage a pretence that they couldn’t see Hush while she was under the spell of invisibility.

Grandma Poss has forgotten the magic that will return Hush to a state of visibility and, as the story progresses, the invisible Hush and Grandma Poss hop on a bike and travel through the Australian countryside and the country’s major cities, nicely shown through snippets of film, looking for human food that might restore Hush’s visibility. After eating some typical Australian delicacies at various stops, including Pavlova, Lamingtons, Vegemite, Minties, Anzac biscuits and others, Hush returns slowly to a visible state. The critical items are Pavlova, Vegemite and Lamingtons and the return to visibility, and arrival back in the bush where the characters live, is warmly welcomed by everyone.

Milana Gould as Hush danced beautifully. Her finely boned body and her long and flexible limbs brought out the best in Prior’s choreography, which shows not only classical steps and combinations, but some more contemporary movements as well. Kit Thompson as Grandma Poss gave an outstanding performance with excellent stage presence and I especially enjoyed watching two sparring kangaroos (Thomas Boddington and Tadgh Robinson) and an impressive and quite dominant koala (Ethan Mrmacovski).

Possum Magic. The Ballet showed Loughlan Prior at his theatrical best. His insertion of film was exceptional as was his varied choreography to suit the characters, especially for the Pavlova ladies whose dancing was very classical indeed. His collaborators worked beautifully with him with a very danceable score from Claire Cowan, costumes and set from Emma Kingsbury (I especially loved the Pavlova tutus—red skirts trimmed with white Pavlova slices around the edges); and lighting from Jon Buswell. The ballet is a delight to watch and encapsulates beautifully the Mem Fox book on which it is based. It deserves further showings.

Grandma Poss and Hush (foreground) with Palova ladies in Perth. Photo: © Sergey Konstantinov

The second half of the program consisted of three short items, Degas dances from Paul Knobloch and largely danced by Level 4 students of the School with some outstanding solo sections from Ruito Takabatake; Nexus from Stephen Baynes for Level 7 students; and Techno Requiem from Lucas Jervies showing a contemporary dance style and strongly performed by Level 8 students. I was particularly thrilled to see Nexus as Baynes’ choreography is not often on show these days. Nexus, danced to Capriccio for Piano and String Orchestra by Graeme Koehne, shows Baynes’ innate musicality, his beautiful and sometimes surprising use of space, and his unique choreographic style and structure. But in all this second part showed off the range of dance that is taught at the Australian Ballet School.

Michelle Potter, 13 December 2023

Featured image: The characters in Possum Magic. The Ballet with Milana Gould as Hush (centre, held aloft by Koala). Photo: © Sergey Konstantinov

Dancers from the Australian Ballet School in 'Alegrias'. Photo Sergey Konstantinov

Showcase 2018. The Australian Ballet School

22 September 2018. The Playhouse, Canberra Theatre Centre

The Australian Ballet School’s annual Showcase came to Canberra this year, and what a treat it was. It is, of course, what it says it is, a showcase of dancing by students of different levels studying at the Australian Ballet School. But it was such an interesting and pleasurable experience to see these students, emerging professional dancers, in a program of eight very different items from seven different choreographers.

Showcase 2018 opened with Alegrias, a feisty flamenco item choreographed by Areti Boyaci, teacher of Spanish dance to Australian Ballet School’s senior students. It was danced by the graduating class (Level 8) to a live accompaniment by guitarist Werner Neumann. Then followed Mark Annear’s Waltz from Birthday Celebration, danced by youthful, tutu-clad dancers largely from Level 5; the Dryad scene from Don Quixote Act II; a charming new creation, Wolfgang Dance, from Simon Dow, again performed by Level 5 students; Paul Knobloch’s Valetta for the graduating class, which Knobloch choreographed in memory of his grandmother whose name was Valetta; another new creation, Ballo Barocco, from Stephen Baynes made on Level 7 dancers; Heart Strings, also new, from contemporary teacher Margaret Wilson for Level 6 students; and finally a tango-flavoured item from Simon Dow, Danza de la Vida, for the graduating class.

Two items stood out for me: Ballo Barocco and Heart Strings. Ballo Barocco, danced to four excerpts from different concerti by J. S. Bach, showed Baynes, currently resident choreographer with the Australian Ballet, at his musical best. The cast of 16 moved smoothly and fluidly from one sculptural pose to another. In between these poses we saw movements in canon form, some spectacular dancing from the men, along with admirable partnering. I loved too the simple, elegant lines of the costumes by Maree Strachan that did not distract from the choreography but, rather, allowed it to shine.

Level 7 dancers from the Australian Ballet School in Stephen Baynes' 'Ballet Barocco'. Showcase 2018. Photo: Sergeyev Konstantinov — Level 7 dancers from the Australian Ballet School in Stephen Baynes’ *Ballet Barocco*. *Showcase 2018*. Photo: © Sergey Konstantinov

Margaret Wilson teaches contemporary dance at the Australian Ballet School and I was expecting something rather different from what was presented to us in Heart Strings. With the girls on pointe and clear references to ballet technique, to me the work was contemporary ballet. It was beautifully performed and seemed to focus on limbs—long and extended, lifted and stretched. But what really tore at the heart strings for me was the underlying narrative, which drew on aspects of adolescent life: arguments, bullying, young love and the like. These dancers, adolescents themselves, captured so clearly the emotion behind these life-moments and just swept us along.

Other highlights? The male dancing in Valetta, which is made for 13 male dancers and just one female artist, was often quite spectacular with its strong patterns and fast pace. The principal male dancer, Thomas McClintock, danced exceptionally well, but in addition had extraordinary stage presence. Someone to watch as he embarks on his professional career. Then it was impossible not to be charmed by the cheekiness of Wolfgang Dance. Performed to the Allegro from Mozart’s Eine Kleine Nachtmusik, the youngest of the students who toured to Canberra drew us into their games onstage and peeped at us from the wings as they made their exits.

Dancers from the Australian Ballet School in 'Valetta', Showcase 2018. Photo: Sergey Konstantinov — Dancers from the Australian Ballet School in *Valetta*, *Showcase 2018*. Photo: Sergey Konstantinov

The one item that left me a little cold was the Dryad scene from Don Quixote. It was not the dancing that worried me and I especially enjoyed the performance by Ella Chambers as Cupid. But Barry Kay’s costumes are so over decorated, especially those headdresses. I feel it is time to retire them.

Despite the overdressed Dryads, Showcase 2018 gave us a glimpse of a promising future for ballet in Australia.

Michelle Potter, 24 September 2018

Featured image: Dancers from the Australian Ballet School in Alegrias. Photo: © Sergey Konstantinov

Paul Knobloch joins Sydney Dance Company

Good news from Canberra dancer Paul Knobloch who will be joining Sydney Dance Company for its upcoming 45th anniversary tour to Western Australia, Queensland and regional New South Wales. The company will be taking their multi award winning work, 2 One Another, on this tour which will take in small and large cities from Perth to Mackay to Dubbo. Earlier this year Bonachela explained his interest in regional touring:

‘The regional touring is something very close to my heart because I come from a very small town myself. I believe that we can change people’s lives through dance. We need to benchmark ourselves against leading companies overseas but we need to be seen across Australia as well’.

Knobloch has been teaching in Canberra just recently at the Canberra Dance Development Centre and it is good to see him returning to his performing career once more. The tour begins in Perth on 18 June and runs through until August finishing up in the New South Wales central western city of Orange.

Paul Knobloch. Photographer not identified

For more about Paul Knobloch’s career see the posts at this link.

Michelle Potter, 9 May 2014

Paul Kobloch with Edgar Meyer, 2013 Photo: Angela Sterling

Paul Knobloch in conversation

The Canberra Critics’ Circle recently began an informal weekly series ‘In conversation with …’ designed to bring critics from various disciplines into contact with practising artists across art forms who are either visiting or resident in Canberra. Dancer Paul Knobloch was the Circle’s first guest.

Knobloch was in Canberra on what has become a regular return to his home city during the northern hemisphere summer break. A graduate of the Australian Ballet School, Knobloch currently performs with Alonzo King LINES Ballet, which has its home base in San Francisco and which Knobloch joined in February 2012. Before that he was a member of Bejart Ballet Lausanne. He has also had stints with the English National Ballet in London and has worked in Australia with West Australian Ballet and the Australian Ballet.

Knobloch talked with the Circle about his current work and remarked that he has had a busy half year so far in 2013 with a collaboration between King’s company and Hubbard Street Dance Chicago. In particular, they have been performing works that grew from a residency for the two companies at the University of California at Irvine.

Paul Knobloch, Alonzo King LINES Ballet, 2013 Photo: Angela Sterling — Paul Knobloch and dancers of Alonzo King LINES Ballet. Photos: © Angela Sterling

Paul Knobloch and dancers, Alonzo King LINES Ballet, 2013 Photo: Angela Sterling — Paul Knobloch and dancers of Alonzo King LINES Ballet. Photos: © Angela Sterling

He went on to talk enthusiastically about a collaboration with Grammy Award-winning double bassist Edgar Meyer. The work, called Meyer, has Meyer and two string players performing on stage and Knobloch recalls that at one point he found himself dancing a solo just centimetres from Meyer’s 100-year-old double bass. Despite this somewhat daunting experience, Knobloch counts dancing in this work as ‘like nothing I had experienced before’.

Knobloch has also been taking classes in the Gaga movement language and spoke to the Circle about its effects on his work and his approach to dance. The movement language known as Gaga was developed by Ohad Naharin, inspired and admired director of the Israeli group, Batsheva Dance Company. The name refers to the baby gibberish ‘ga-ga’, and, when asked why he called his new dance language Gaga, Naharin explained: ‘I called it Gaga because I was tired of saying “my language of movement”. I understood that it was worthy of a name and I wanted to detach it from me. I didn’t want it to be Ohad Naharin’s language of movement’.

The Gaga movement language is used by the professional dancers of the Batsheva company as part of their day-to-day training and Naharin stresses that Gaga doesn’t go against ballet or ruin a dancer’s technique. It improves technique and supports the language dancers already know. It is a way of gaining knowledge and self-awareness through the body.

It is also used now as a training method for students as well as professionals. Knobloch says that dancers are led through a class by being given key words, phrases and imagery to help them create movement and develop improvisation skills. Knobloch says that for the entire class dancers never stop moving and that at some point they have to let go of thought and let the dancing body take over. ‘The Gaga classes I take allow me to awaken my inner voice as a dance-maker, and spark a freedom of movement that I haven’t felt since my childhood,’ Knobloch says. ‘The quote “Dance as though no-one is watching” comes to mind.’

Knobloch is also considering his future and continues to have choreographic aspirations. His most recent choreographic work is Facets of Light, commissioned by Ballet Victoria, British Columbia, in 2011. At present though he is still enjoying ‘living out of a suitcase’ as LINES pursues its extensive touring of the festival circuit.

While in Canberra Knobloch will also dance at the annual performance by students from his former dance school, Canberra Dance Development Centre, and will present the award for best performance by a female dancer at the 2013 Australian Dance Awards to take place on 5 August at the Playhouse, Canberra Theatre Centre.

Michelle Potter, 27 July 2013

Featured image: Paul Knobloch with double bassist Edgar Meyer, Alonzo King LINES Ballet, 2013. Photo: © Angela Sterling

‘Moving on’. Paul Knobloch

It is always a pleasure speaking to Paul Knobloch about future directions in his career. As I mentioned in my December dance diary Paul has just moved to San Francisco to take up a contract with Alonzo King LINES Ballet. Recently The Canberra Times published a longer story about this latest move under the heading ‘Moving on’. Here is a link to the article.

Michelle Potter, 9 January 2012

Dance diary. December 2011

Graeme Murphy’s Romeo and Juliet

During 2011 I have published many thoughts on a whole variety of dance subjects, but there is no doubt that most interest has been generated by posts and comments associated with the Australian Ballet’s production of Graeme Murphy’s Romeo and Juliet. Traffic across this website has risen by 50% since the opening of R & J in September. My two posts on this show were quickly picked up. The original post has been the top post in terms of visitor numbers since October and the ‘second look’ post quickly took up the second spot from November onwards.*

The main thrust of the comments on R & J has been, it seems to me, that the story lost its depth as a result of the wildly changing locations and eras in which this production of the ballet is set. In response to one such comment following the Sydney season I wrote: ‘ I keep wondering about our expectations of ballet, and this ballet in particular. Does the story lose its profundity if it covers different territory and does so in a way that is not expected?’ I think most people believe the story did lose rather than gain in this production, but I still wonder and look forward to further comments when the work goes to Brisbane early in 2012.

Infinity: the Australian Ballet’s 2012 triple bill

Graeme Murphy is in the throes of creating another work for the Australian Ballet. It will form part of a triple bill entitled Infinity, which will open in Melbourne in February and comprise works by Murphy, Gideon Obarzanek and Stephen Page. While I have no inkling as to what Murphy will give us this time, Bangarra Dance Theatre’s December newsletter gives us a hint of what we might expect from Page’s work, which will use dancers from both his own Bangarra Dance Theatre and the Australian Ballet—definitely something to look forward to.

Scholars and Artists in Residence (SAR) Fellowship

In December I began my research into designer Kristian Fredrikson’s film and television commissions at the National Film and Sound Archive under a SAR Fellowship and will resume work there after the holiday break. I was especially pleased finally to be able to see a film called Undercover, made in 1983 and produced by David Elfick with Kristian Fredrikson as costume designer and Anna French as his assistant designer. This film is set in the 1920s and charts the growth of the Berlei undergarment enterprise in Australia. Fredrikson’s designs, especially for the women and for the dance sequences (choreographed by former Australian Ballet dancer Leigh Chambers) towards the end of the film, are beautifully realised within the spirit of the fashions of the 1920s. I suspect Fredrikson reimagined some of his work for Undercover when he began work on Tivoli, which he designed in 2001 for Sydney Dance Company and the Australian Ballet. In any case, despite the reservations I had (before I had seen the film I have to admit) about the subject matter, Undercover is a fascinating film and I hope to arrange a screening of it at a later date.

As a result of a mention I made of the SAR Fellowship in my dance diary post for November I was surprised and delighted to be contacted by one of Fredrikson’s assistants who worked with him on a production of Oedipus Rex, produced in 1965 by Wal Cherry for his Emerald Hill Theatre in Melbourne. It was only recently that I discovered that Fredrikson had designed this show, one of his earliest Australian design commissions, and I hope to include reference to it in a Spotlight Talk I will be giving for the Performing Arts Centre, Melbourne, in April when I will also talk about Fredrikson’s other early designs in New Zealand and Australia.

Meryl Tankard

Meryl Tankard and Régis Lansac returned to Sydney in December following the opening of Tankard’s latest work, Cinderella, for Leipzig Ballet in November. As well as passing on news about Cinderella, Tankard also told me of the success that The Oracle had when it was shown in Lyon in November. Tankard made The Oracle in 2009 as a solo work for dancer Paul White and one clipping from a Lyon newspaper that Tankard sent me referred to Paul White as ‘a revelation to the French public’ and ‘a god of the stage’ and suggested that his solo had instantly attracted a cult following. Here is a link to another review (in French or, if you prefer, in English translation) from the Lyon Capitale that lauds, once again, White’s remarkable physicality and virtuosity and Tankard’s and Lansac’s extraordinary work. The Oracle was the recipient of two Australian Dance Awards in 2010.

Paul Knobloch

Alonzo King rehearsing Daria Ivanova and Paul Knobloch in *Figures of thought*, Lausanne, June 2011. Photo: Valerie Lacaze.

Australian dancer Paul Knobloch was in Canberra over the holiday season visiting family and friends. Knobloch is excited at the new direction his career is about to take. He will take up a contract in February with Alonzo King LINES Ballet based in San Francisco. King recently made a work called Figures of thought for Béjart Ballet Lausanne, where Knobloch has been working for the past few years. King offered Knobloch a contract after working with him in Lausanne.

The BBL website has a photo gallery from this work. It contains several images of Knobloch in rehearsal. [Update April 2019: link no longer available].

Luminous: Celebrating 50 years of the Australian Ballet

In December The Canberra Times published my review of the Australian Ballet’s most recent publication, Luminous: Celebrating 50 years of the Australian Ballet. Here is a link to the article.

Michelle Potter, 31 December 2011

*The third most popular post for both November and December was that relating to Stanton Welch and the other Australians working in Houston, Texas.

Interview with Paul Knobloch

The interview with Paul Knobloch recorded by Stateline Canberra during Paul’s recent Australian visit screened on Friday 24 September. Its online availability will, it seems, expire in December so it’s worth having a look before that happens. In addition to the words from Paul and his mentor, Jackie Hallahan, there are some photos of Paul as a student and some tantalisingly short footage of his performance in Webern Opus V as well as snippets from an impromptu dance performed in the studio for the Stateline cameras.

Here is the link. (See update below for new link)

Michelle Potter, 26 September 2010.

UPDATE: 27 July 2013: The video on the link above has been removed although the transcript of the interview is available. The footage, however, is still available at this link from ABC Western Victoria.

UPDATE: 15 June 2020. Links no longer available.

Paul Knobloch

Paul Knobloch, former soloist with the Australian Ballet, is back in Australia briefly to visit his family and conduct master classes in Canberra. Knobloch left the Australian Ballet in 2009 to join Béjart Ballet Lausanne.

Knobloch counts dancing the opening night of a season in Paris, when he partnered Russian-born Daria Ivanova in Béjart’s Webern Opus 5, as the highlight of his career to date with Béjart Ballet Lausanne. He returns to Switzerland in September when Béjart Ballet Lausanne will begin working with Tokyo Ballet on a joint staging of Béjart’s version of Rite of Spring. Knobloch’s own work Valetta, commissioned by David McAllister for an Australian Ballet gala in 2007, will be on the program for the Australian Ballet School’s graduate exhibition in Melbourne this September.

Michelle Potter, 16 August 2010