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.
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.
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.
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.
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.
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.
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.