The Sleeping Beauty. Queensland Ballet (2021)

4 June 2021. Lyric Theatre, Queensland Performing Arts Centre, Brisbane

I last saw Greg Horsman’s production of The Sleeping Beauty for Queensland Ballet (originally made for Royal New Zealand Ballet) back in 2015. Then I made a flying, unanticipated trip to Brisbane because I needed to see a different version from the one created by David McAllister for the Australian Ballet. I disliked the McAllister production, which was not about Aurora to my eyes, and in which everything was overpowered by the design elements. I came away from that initial Brisbane experience much more satisfied that Aurora had a role in the ballet, and that the collaborative elements worked with each other to create a whole without one element dominating all.

Having all that out of my system, this time I was able to concentrate on other aspects of the production. Horsman has reimagined certain parts of the storyline and, while this is now a relatively commonplace procedure, it has to be done really well and with a sound reason for changing things. The main issue for me was making Carabosse too much like the other fairies. She wore the same style tutu as the others (except it was black and had transparent sleeves). But sometimes she danced together with the other fairies and somehow, despite representing the spirit of evil, she seemed to recede into the background as a major player in the narrative. The role was performed quite nicely, technically speaking, by Georgia Swan but I wanted a Carabosse who stood apart, strongly, from the others. It just didn’t happen.

Carabosse (centre) and the Fairies in The Sleeping Beauty. Queensland Ballet, 2021. Photo: © David Kelly

The leading roles of Aurora and the Prince were danced by Neneka Yoshida and Victor Estévez. Yoshida danced pretty much faultlessly but didn’t seem to be as involved in her role as I have seen from her on previous occasions. On the other hand, Estévez was not only a strong performer in a technical sense (his entrance at the beginning of the second act—the Prince’s hunting party—was spectacular and drew applause), but he had the carriage and demeanour of a prince at every moment.

Neneka Yoshida and Victor Estévez in The Sleeping Beauty. Queensland Ballet 2021. Photo: © David Kelly

Lucy Green and Kohei Iwamato were the Bluebirds for this performance. While Green and Iwamoto performed beautifully in terms of technique—and all those beats, including the series of brisés volés, need strong techniques—I was disappointed (and I often am). The story behind the Bluebird section is that he is teaching her how to fly and that she is listening to him. This backstory rarely comes across and it didn’t on this opening night. It was a shame about Iwamato’s costume, too. It had a very high neckline that practically removed his neck from sight.

Lucy Green and Kohei Iwamato as the Bluebirds in The Sleeping Beauty. Queensland Ballet 2021. Photo: © David Kelly

The highlight of the evening for me was the Prince’s hunting party scene. Estévez I have mentioned. His friends, danced by David Power and Joel Woellner, and Gallifron the Prince’s tutor, a role taken by Vito Bernasconi, brought light and shade, some amusement, and good dancing and acting to the scene.

Choreographically Horsman has kept much of what we think of as the original movements, especially in the various pas de deux and solos. But where he has made choreographic changes there is little excitement. Much is predictable. Lots of arabesques. Lots of retiré relevé type movements.

So, all in all I found the production and the performance somewhat disappointing. In fact I began to wonder about remakes of well-known classics. While there will always be changes of one sort or another to any ballet, it takes an exceptional choreographer to do a remake. Those who succeed usually bring a completely new work to the stage. Liam Scarlett did it with his Midsummer Night’s Dream. Graeme Murphy has done it on several occasions. I thought Horsman did it (almost) with his Bayadère, despite the fact that there were certain issues associated in some minds with current thoughts re political correctness.

But this Sleeping Beauty was not a remake, just the same story with a few elements added, a few removed, and some changes to the way the story unfolded. It made me long for someone to do something completely new, or to revive an old fashioned production! Seeing it in 2015 was just a relief after the McAllister production. In 2021 perhaps my reservations were a result of having watched the Royal Ballet’s recent streaming of its hugely engaging presentation of the Ninette de Valois Beauty of 1946?

Michelle Potter, 7 June 2021

Featured image: Serena Green, Laura Tosar, Chiara Gonzalez and Mia Heathcote as the Fairies in The Sleeping Beauty. Queensland Ballet, 2021. Photo: © David Kelly

60th Anniversary Gala. Queensland Ballet

5 March 2021. Playhouse, Queensland Performing Arts Centre, Brisbane

The opening night of Queensland Ballet’s 60th Anniversary Gala began with film footage examining, briefly, aspects of the contributions made to the company by the five artistic directors who have led the company to date: Charles Lisner, founding director (1959-1974); Harry Haythorne (1975-1978); Harold Collins (1978-1997); François Klaus (1998-2012); and current director Li Cunxin (2013-present).

The brief film was followed by a grand défilé choreographed by Paul Boyd and featuring dancers of Queensland Ballet and its associated school, Queensland Ballet Academy. Boyd’s choreography showcased the dancers skilfully and beautifully and the défilé began with a truly charming introduction. While carrying out small, on the spot promenade movements, two pairs of very young dancers, one pair positioned at each side of the downstage area, introduced the first of the older dancers. Each of those four young people showed remarkable stage presence and suggested that Queensland Ballet Academy has its focus not just on technique but on how to maximise one’s presence onstage.

Closing moments of the grand défilé. Queensland Ballet 2021. Photo: © David Kelly

The following program was a varied one and to my eyes, while all seven works had a reason for being part of the celebration, some stood out a little more than others.

Charles Lisner’s charming Chopin pas de deux, which opened the main section of the Gala, was well performed by Yanela Piñera and Joe Chapman. Piñera danced with her usual style and panache and the two dancers were able to connect with each other beautifully. Chapman carried off the quite difficult lifts with strength and aplomb. It was great to see him back in Australia after his stint dancing in Canada, although there were times when his ‘in between’ movements were less smooth than I would have wished. One step needs to lead to another without it being noticeably ‘in between’, and this didn’t always happen with Chapman.

Yanela Pieñra-and-Joe Chapman- n Chopin pas de deux. Queensland Ballet 2021. Photo:© David-Kelly
Yanela Piñera and Joe Chapman in Chopin pas de deux. Queensland Ballet 2021. Photo: © David Kelly

Mia Heathcote and Victor Estévez gave a dramatic rendition of François Klaus’ Cloudland pas de deux. Heathcote continues to impress as a dramatic dancer. Jacqui Carroll’s Tavern Scene from her 1982 work Carmina Burana was also filled with drama and passion. The three solos, danced by Vito Bernasconi, Liam Geck, and Rian Thompson, were spectacular in the power and passion that emanated from the dancing. My particular bouquet went to Bernasconi—he attacked the choreography like a man possessed.

The absolute standout item was the Don Quixote pas de deux danced brilliantly by Neneka Yoshida and Camilo Ramos. These two dancers are so suited to each other in height and in their similar, outstanding technical abilities. Yoshida’s technique was faultless and, in particular, her balances throughout and her fouettés in the coda were astonishing. Similarly Ramos stunned with his turns and his elevation and jumps. But there was something else happening. I have never seen Kitri and Basilio engage with each other the way Yoshida and Ramos did. The way they looked at each other, Yoshida’s glances to Ramos in particular, seemed to indicate a burgeoning relationship, a knowingness. It was very exciting to watch.

Neneka Yoshida and Camilo Ramos in Don Quixote pas de deux. Queensland Ballet 2021. Photo: © David Kelly

Other items on the program were a pas de deux from Harold Collins’ Lady of the Camellias, the finale to Act II of Klaus’ The Little Mermaid, and the full-length (and it was SO long) Études by Harald Lander. With the exception of Carmina Burana, which not surprisingly was danced to recorded music, the dancers performed to music played by Queensland’s Chamber Orchestra, Camerata, with Nigel Gaynor conducting. I continue to admire the way Gaynor conducts for dance. The music is always a part of the whole, never seeking to dominate.

The strength of the program not only revolved around some great dancing in particular works, but also on the words of Li Cunxin in an opening speech from the stage and in the section of the opening footage in which he appeared. Li was himself a brilliant dancer (I can still see him in certain roles), but he is also an unsurpassed speaker. He is committed, he is persuasive, he is caring about the art form of dance, his thanks to those involved have an honesty to them, and he is determined to keep moving ahead. Li builds on what has gone before but in his hands Queensland Ballet has moved ahead in leaps and bounds.

Michelle Potter, 6 March 2021

Featured image: Neneka Yoshida and Camilo Ramos in Don Quixote pas de deux. Queensland Ballet 2021. Photo: © David Kelly

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.

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

The Masters Series. Queensland Ballet

17 May 2019. Lyric Theatre, Queensland Performing Arts Centre, Brisbane

One of the strongest aspects of Queensland Ballet’s programming at the moment is Li Cunxin’s masterful ability to curate an engrossing triple bill. This is no easy task, but it is something that has characterised the work of the best companies across the decades. The Masters Series, the current Queensland Ballet offering, is no exception. Li has put together an exceptional triple bill. It gives us George Balanchine’s Serenade, and Jiří Kylián’s Soldier’s Mass, both outstanding works from two of the world’s most respected choreographers. These two works are joined by a new work, The Shadows Behind Us, from American choreographer Trey McIntyre.

I have no hesitation in saying that, for me at least, Serenade, the first work of the evening, was the highlight. It was the first original work that Balanchine created in America, and it gives a foretaste of what his future works would be like—at least from a technical point of view. At times the spatial patterns Balanchine creates are so arresting that they seem to be the main feature of the work. He is a master of placing dancers on, and moving them around the stage.

But looking beyond the beautiful patterns, the steps that Balanchine asks of the dancers are complex— full of turns and fast footwork—and the dancers of Queensland Ballet rose to the occasion. Standout performances came from Yanela Piñera and Victor Estévez, who had the main pas de deux, and Lucy Green, Georgia Swan and Patricio Revé, who had soloist roles. The final few moments in which these dancers held the stage were quite moving. But the entire corps de ballet danced with thrilling technique throughout, and with a great feeling for the changing moods of the ballet.


(from top) Georgia Swan, Patricio Revé and Yanela Piñera in Serenade, Queensland Ballet, 2019. Photo: © Darren Thomas

The closing work was Kylián’s Soldiers’ Mass a work for 12 male dancers with choreography that is driving and relentless. The fascinating aspect of the work is the way in which Kylián manipulates the group. The dancers form into lines, break apart, regather, divide up again, leaping, falling, and partnering each other, and moving all the time to the very powerful 1939 composition by Bohuslav Martinu, Field Mass. Kylián’s work is a comment on war and the emotional toll it takes on those who are forced to engage in it. Emotion and drama surge throughout the work. Kohei Iwamoto was the star for me. Whether in his solos, or when he was dancing with his fellow soldiers, every inch of his body told the story. But then every dancer seemed totally committed.

Kohei Iwamoto in Soldiers’ Mass, Queensland Ballet, 2019. Photo: © Darren Thomas

In the middle, The Shadows Behind Us was, for me, the least successful work of the evening. Danced to songs by Jimmy Scott, it was brash and slick in an American idiom. Made on ten dancers, it consisted basically of six duets, including one between two men, in which relationships were played out. The set by Thomas Mika was a great addition to the work. It gave some kind of narrative element to the action. It consisted of a large white frame, or partial frame, in the downstage area, forming a kind of proscenium where the action was located. Behind it was a black void into which the dancers disappeared as they finished their duet (the shadows behind us). But I have to admit to finding the choreography quite stilted in many respects and some of the poses the men were asked to take seemed quite awkward.

Laura Hidalgo and Samuel Packer in The Shadows Behind Us, Queensland Ballet, 2019. Photo: © Darren Thomas

Despite my reservations about The Shadows Behind Us, The Masters Series was a great evening of dance, and a triple bill that fulfilled one’s expectations of the variety of dance that good mixed bills should contain.

Michelle Potter, 20 May 2019

Featured image: Lucy Green and dancers in Serenade, Queensland Ballet, 2019. Photo: © Darren Thomas