Giselle. Queensland Ballet

14 April 2023. Playhouse, Queensland Performing Arts Centre, Brisbane

Queensland Ballet’s current production of Giselle owes its staging to Ai-Gul Gaisina, Russian-trained dancer with a stellar career in Australia as a dancer, teacher, coach and, more recently, stager of ballets from the traditional repertoire. The first thing to say about this production, originally made for Houston Ballet in 2011, is that the narrative is strong and clear from beginning to end. This is not always the case with many productions of Giselle where emphasis is so often given to technique and its relationship to the Romantic style, rather than to making the storyline a feature. This is not to say that technique was forgotten in the Queensland Ballet production. In fact, the dancers, clearly well-rehearsed, performed beautifully in both acts. But it was a real treat to have a strong storyline in which to become immersed.

Dancers of Queensland Ballet in *Giselle*, Act I, 2023. Photo: © David Kelly

Mia Heathcote and Patricio Revé danced the leading roles of Giselle and Albrecht and presented us with some memorable moments of dancing, especially in Act II. Revé’s solos were stunning for the most part, including his 32 entrechats six as he danced to avoid death from the Wilis, while the various pas de deux between them were filled with gentle emotion.

(left) Patricio Revé as Albrecht, Act II; (right) Mia Heathcote as Giselle Act I. *Giselle*, Queensland Ballet, 2023. Photos: © David Kelly

Mia Heathcote and Patricio Revé in *Giselle* Act II. Queensland Ballet, 2023. Photo: © David Kelly

Vito Bernasconi was a standout performer as Hilarion, the forester whose love for Giselle is not returned and who unmasks Albrecht as the royal prince that he is. Bernasconi’s suspicion and anger as Act I unfolded were palpable as was his dramatic dancing in Act II as he tried, unsuccessfully, to avoid death.

Vito Bernasconi as Hilarion in *Giselle* Act II. Queensland Ballet, 2023. Photo: © David Kelly

I was also surprised by parts of the Adolphe Adam score, played by Queensland’s chamber group, Camerata, conducted by Nigel Gaynor, which opened up new insights for me. In particular I was transfixed by the introduction to Act II in which that recurring musical motif for the Wilis was juxtaposed with the ominous sound of drums spelling impending disaster.

In a not so positive note, I would have liked the characterisation of Berthe, Giselle’s mother danced by Lucy Green, to have been stronger. In my mind Berthe has to be an older woman who is not only concerned about her daughter’s health, but is also somewhat superstitious. Green’s mime scenes stating that if Giselle keeps dancing she will die were very clear. But it is not just a medical matter. The recurring Wili musical motif keeps appearing in Act I but it is not often that anyone onstage recognises those motifs. Berthe and the rural village in which Act I of the ballet is set has to be superstitious. It’s the mid 19th century. So why is Berthe always just worried from a medical point of view? I want Berthe to be concerned about the Wilis as well as the heart issues. Anyway, that’s just a gripe of mine.

I also wanted Myrthe, Queen of the Wilis in Act II (danced by Yanela Piñera), to be a stronger character. To me, in this production she didn’t seem capable of being in control of her realm, which she needs to be. She isn’t meant to be a pleasant character. I also had problems with the lighting of Act I (lighting design by Ben Hughes), which at times seemed too bright, or too strong somehow, thus making the muscle structure of some the male dancers seem unattractive.

Despite my gripes and grumbles, this was probably the most interesting staging of Giselle I have seen since the exquisite production by the Paris Opera Ballet in Sydney in 2013, and the one I will never forget from Sylvie Guillem and the Finnish National Ballet way back in 1998. The problem arises, however, that when there are many outstanding aspects to a work, as there were in the Queensland Ballet 2023 production, those bits and pieces that are not quite brilliant tend to be magnified in a critic’s mind. Nevertheless, while I stand by my criticisms, I have to add that I loved seeing this production and have nothing but praise for those who made it happen.

Michelle Potter, 15 April 2023

Featured image: Three Wilis in Giselle Act II. Queensland Ballet, 2023. Photo: © David Kelly

Another personal note (gripe):
One thing that I find particularly annoying is the way Queensland Ballet audiences applaud at what I think are inappropriate times. It means that it is sometimes impossible to hear the music that signals the next section of the dancing and sometimes that applause even comes mid-stream—that is before a specific and important section of the production is finished. It’s lovely to know that the audience appreciates the outstanding dancers of Queensland Ballet, but it seems to be getting out of control unfortunately. Please just hold back a little.

The Nutcracker. Queensland Ballet (2022)

2 December 2022. Playhouse, Queensland Performing Arts Centre, Brisbane

I have fond memories of watching a production of Nutcracker pretty much every Christmas as a young ballet student in Sydney and it is great to see Queensland Ballet making their Nutcracker (choreographed by Ben Stevenson originally in 1976) a Brisbane tradition. Every production has its high points and the highlight for me in this Queensland Ballet performance was the snow scene where Clara (Chiara Gonzalez) is transported, after her encounter with the Nutcracker and his fight with the army of rats, to the Kingdom of the Sweets via a snowy landscape. The appearance of the Snow Queen gave me a frisson of excitement to begin with and as the dancing progressed the goose bumps continued. Mia Heathcote as the Snow Queen and Patricio Revé as the Prince danced exceptionally well both in solos and pas de deux, and the snowflake corps de ballet were also a delight to watch. The set for this section (sets by Thomas Boyd) reminded me of a trip way back in December 2007 through the snowy Kit Carson Forest, in New Mexico.

Mia Heathcote and Patricio Revé in Ben Stevenson’s *Nutcracker*. Queensland Ballet, 2022. Photo: © David Kelly

Then there was the orchestra playing that moving section of Tchaikovsky’s score with the addition of the Voices of Birralee from St Peter’s Lutheran College Choir. It was all just glorious and, to the amazement of everyone (at least those where I was sitting), snowflakes fell on us as the lights went up for interval!*

But to the production as a whole: the opening scenes were filled with action as guests enjoyed themselves at the Christmas party that opens the ballet. The stage space was a little crowded, however, and the action rather too full of pantomime-style behaviour for my liking. It weakened the presence of Dr Drosselmeyer (Alexander Idaszak) and his two sets of dolls, and the other various activities that have prominence in these scenes. There were just too many people trying to dominate the action of the party.

But as Clara retired to bed and the army of rats and the soldiers who fight the rats arrived, the production became easier to watch. There were some lovely humorous moments, including when ‘nurse rats’ arrived, with one waving a white flag and others carrying a stretcher, to carry off the injured body of the King Rat. The King Rat had just a brief role but Vito Bernasconi, who danced the part on opening night, was an outstanding interpreter of Stevenson’s expressive choreography of twists, bends and jumps that gave such character to the role—and Desmond Heeley’s costume was exceptional.

Vito Bernasconi as the King Rat in Ben Stevenson’s *Nutcracker*. Queensland Ballet, 2022. Photo: © David Kelly

Act II was very ‘sweetish’ with little cakes and other sweet items decorating the set and a bunch of cooks rushing in and out with their items for Clara to taste. Some of the entertainment, watched by Clara and the cooks, was somewhat different in Stevenson’s version from what many older folks might remember. For example, the Russian gopak usually a dance for more than one man, was a solo brilliantly performed by Bernasconi, and the Chinese Dance (Mali Comlecki and Luke DiMattina) was highly acrobatic and was akin to a martial arts demonstration. The always-anticipated Waltz of the Flowers showed Lucy Green and David Power dancing the lead couple with exception fluidity and grace.

Lucy Green and Dvvid Power as the lead couple in the Waltz of the Flowers in Ben Stevenson’s *Nutcracker*. Queensland Ballet 2022. Photo: © David Kelly

The grand pas de deux was danced on opening night by Yanela Piñera as the Sugar Plum Fairy and Patricio Revé as her Prince and once more I was especially impressed by Revé as a partner. He is completely engaged with whomever he partners, and in whatever role he performs. Watching Piñera was a joy too as from the relatively close seat I had I could see how every tiny move she made filled the space around her. Beautiful dancing from both artists.

Yanela Piñera and Patricio Revé in the grand pas de deux from Ben Stevenson’s *Nutcracker*. Queensland Ballet, 2022. Photo: © David Kelly

From a different point of view, I have much admiration for Nigel Gaynor, Queensland Ballet’s conductor and musical arranger. I have always been impressed by the collaborative way he works and this time I was sitting close enough to see just how he engaged with the dancers, even applauding at various stages (baton still in hand), when a solo or pas de deux was especially spectacular.

Despite my comments on the opening party scenes of this production, it was a treat to see this Nutcracker danced so beautifully across the evening by the hugely talented team that makes up Queensland Ballet these days.

Michelle Potter, 4 December 2022

* I’m not sue what the ‘snow’ was except that it wasn’t bits of white paper. Perhaps water, slightly frozen? But this delightful addition to audience experience has never happened to me before.

Featured image: Mia Heathcote as the Snow Queen in Ben Stevenson’s Nutcracker. Queensland Ballet, 2022. 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.

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

Romeo and Juliet. Queensland Ballet (2019)

28 August 2019. Lyric Theatre, Queensland Performing Arts Centre, Brisbane

With its production of Sir Kenneth MacMillan’s Romeo and Juliet, Queensland Ballet once again displayed its constantly growing position as one of Australia’s leading dance companies. This Romeo and Juliet, for which the premiere dates back over 50 years to 1965, was first performed by Queensland Ballet in 2014 when the cast included several international guest artists. In 2019 the cast was home grown. The night really belonged, however, to Mia Heathcote as Juliet and Patricio Revé as Romeo. Both were promoted onstage at the conclusion of the performance.

The Heathcote/Revé partnership was an engaging one throughout. They shone in the several pas de deux on which the MacMillan production centres, and both provided us with believable interpretations of the characters they represented. Mia Heathcote’s confidence onstage and her ability to maintain her characterisation (and technique) throughout what is a long ballet with many changes of location, not to mention changes of emotional mood, was admirable. Revé clearly has many talents, although I suspect he probably needs a little more time before he has the stage presence that will match his technique.

Steven Heathcote (centre) as Lord Capulet with Joel Woellner (left) as Paris and Vito Bernasconi (right) as Tybalt in 'Romeo and Juliet'. Queensland Ballet, 2019. Photo: © David Kelly — Steven Heathcote (centre) as Lord Capulet with Joel Woellner (left) as Paris and Vito Bernasconi (right) as Tybalt in ‘Romeo and Juliet’. Queensland Ballet, 2019. Photo: © David Kelly

I loved the group scenes in this production, all of which were imbued with great energy and so much interaction between all those on stage. Particularly impressive was the Capulet Ball, led magnificently by Steven Heathcote, guesting on this occasion from the Australian Ballet. There was just a touch of pride in the way he held his chest and turned his head that told us he was in charge. He maintained that dominance, a calm but obvious dominance, throughout, whether he was dismissing Tybalt’s attempts to remove Romeo from the ballroom, or demanding later that Juliet marry Paris. The ball scene was also distinguished by MacMillan’s beautiful choreographic approach in which the guests all danced with a slight tilt to the body. So appropriate to the era in which the ballet takes place.

The several fight scenes, staged by Gary Harris, were dramatic and spirited and, in the earliest of those scenes, the whole stage was abuzz with fiery action. The death of Mercutio at the hands of Tybalt was equally as dramatic with Kohei Iwamoto performing strongly throughout as Mercutio.

(right) Kohei Iwamoto as Mercutio with Vito Bernasconi as Tybalt in 'Romeo and Juliet'. Queensland Ballet, 2019. Photo: © David Kelly — (right) Kohei Iwamoto as Mercutio with Vito Bernasconi as Tybalt in *Romeo and Juliet*. Queensland Ballet, 2019. Photo: © David Kelly

I was entranced too by a dancer (unnamed) playing the part of a disabled old man in the market place. Mostly he was high up on a kind of balcony that surrounded the market square but he was so involved with what was happening below that it was often hard to take one’s eyes away from him to watch the main action.

What confused me slightly (and probably only because I had not so long ago seen London’s Royal Ballet perform the MacMillan Romeo and Juliet) were the designs used by Queensland Ballet. I was, I have to admit, expecting the Georgiadis designs, which I admired greatly) but it turned out that Queensland Ballet has what Li Cunxin calls the ‘touring’ designs, which were rented from a company in Uruguay and are by Paul Andrews. For me they couldn’t match those of Georgiadis, although I admired Juliet’s bedroom with its red/orange drapes and its religious icon/prayer point in one corner. The costumes for the musicians who accompany the wedding procession in the market place were also impressive. They spun out beautifully during turning movements.

All in all though, another wonderful show from Queensland Ballet.

Michelle Potter, 30 August 2019

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 Alexi 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

The Nutcracker. Queensland Ballet

23 November 2016, Canberra Theatre

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.