State Theatre, Melbourne
March 22, 2013

By Rain Francis.

In a dusty old box in a storage unit somewhere there lays a copy of American Ballet Theatre’s Don Quixote on VHS. Though its format is now teetering on extinction, the battered little tape is anything but forgotten. Filmed in 1984 and starring the incomparable Mikhail Baryshnikov and Cynthia Harvey, it was my entertainment of choice in the hours between school and ballet practice. I knew every nuance of it like the back of my hand and never got bored with watching it.

Hearing that The Australian Ballet was staging Rudolf Nureyev’s version of Don Quixote this year, my expectations were sky-high. Thank goodness I wasn’t disappointed.

The structure of the ballet is perfectly balanced; the fun and dynamics of Act 1 and 3 are enhanced by a hypnotic, dreamy Act 2. Principal Artist Amber Scott was as close to flawless as a human being can get; a smart choice for the Queen of the Dryads. Corps de Ballet member Benedicte Bemet as Amor was a standout, exquisitely bird-like and cherubic.

In the lead roles of Kitri and Basilio respectively, Principals Leanne Stojmenov and Ty King-Wall shone. They weren’t able to top my memories of Harvey and Baryshnikov, but taking this production purely on its own merits, it would be impossible to find fault with these two outstanding current artists.

Coryphée Garry Stocks was hilarious as the ridiculously foppish Gamache, but it was Soloist Brett Simon’s Don Quixote who really stole the show for me. I was actually in awe to discover at the end that the title role was played by a relatively young soloist and not a veteran of the stage. Simon has a truly unique gift to convey both emotional depth and story. His interpretation of this rich and important character felt like his own, rather than a reproduction of a past artist’s, and this made him the only aspect of this production to truly exceed my expectations.

This year marks 75 years since Nureyev’s birth and 20 years since his untimely death. Don Quixote, with all its colour, flamboyance and happy energy is such a positive tribute to this magnificent artist.

Photo: Lana Jones and Daniel Gaudiello of The Australian Ballet in Don Quixote. Photography Georges Antoni. Make up by Napoleon Perdis

Sydney Opera House
November 2011

By Kristy Johnson

Over the course of The Australian Ballet’s 49-year history, The Merry Widow is one of the most successful ballets for the company. Not only is it the epitome of elegance and glamour, one could say it’s also the most enjoyable production to watch.  Character ‘Hanna Glawari’ is the wise and beautiful widow; ‘Danilo Danilowitsch’ is the lofty idealist. As each act takes place, the audience watches them spar, squabble and flirt, whilst the music reveals their perfect harmony.

On Tuesday November 15^th, I had the pleasure to attend The Australian Ballet’s 389^th performance of The Merry Widow at the Sydney Opera House, and was not disappointed. As an adaptation of Franz Lehar’s romantic operetta, dancers took the audience through a love story, choreographed by Ronald Hynd. Hanna, played by The Hong Kong Ballet’s Jin Yao as part of The Australian Ballet’s dancer exchange program, was a perfect fit to play the astute and striking widow. Jin’s technique was impeccable and I was simply drawn to her.

Performances by male dancers Brett Simon, Andrew Wright, Matthew Donnelly and Jacob Sofer, were right on the mark. Each dancer displayed copious strength, height and stamina throughout the entire performance. Their athletic ability and execution was of a high calibre, which you would expect to see from soloists of The Australian Ballet.

While acts one and three were of a more traditional approach to ballet, act two definitely catered towards those who favour a more contemporary and abstract form. With the scene taking place in the garden of Hanna’s villa, there was almost an element of national character to the movement, with accents in footwork.

It was quite fitting to see Artist in Residence Colin Peasley, play the role of Baron Mirko Zeta in this much-loved classic. Continuing to perform character roles with the company, Colin’s comic ability and stage presence stands out as one of the most memorable parts of the performance.

With a production evoking elegance and glamour, you would not expect any less than a lavish set design and wardrobe. Designed by Desmond Heeley, the audience was left captivated by a flurry of eye-catching ball gowns and fans, top hats and tails. I almost wanted to step inside the scene, and be immersed in the opulence.

All in all, this is by far one of the most enjoyable productions I have seen by The Australian Ballet. The dedication and tireless effort the company puts into each production, with beautiful scenery, decadent costuming and a high standard of technique and performance quality is evident. I would highly recommend this production to ballet lovers everywhere.

Photo: Andrew Killian and Madeleine Eastoe. Photo by Jeff Busby

The Arts Centre, Melbourne.
Saturday August 28^th

By Brian Nolan.

At The Edge Of Night              
Choreography Stephen Baynes
Music by Rachmaninov         

Solo pianist Duncan Salton, along with Orchestra Victoria, emotionally captured the thirst of the Sergei Rachmaninov seven preludes used by choreographer Stephen Baynes in the opening ballet At The Edge Of Night.

The set, which was rather epic and abstract, assisted in conjuring up the illusion of nostalgic longings and events depicted by the dancers. The ballet, which recalled the tender memories of people and events of lifetimes past, was set at dusk where their reminiscences were revealed. Here Baynes’ choreography allowed the dancers to tell their stories with quiet abandon and tempt us to immerse in their memories.

The pas de deux, performed by Olivia Bell and Damian Welch was danced skillfully, enabling Olivia to exhibit her superb facility. There were some lovely lifts, entwining the two dancers’ shapes and permitting attractive transitions, with tempting lines and structure. However, the interaction and identity between the two was lost as they were dancing in the dark. The lighting for me was too dim for this ballet, making the rest of the cast, who danced very well with only with a few timing and spatial errors, appear somewhat sullen throughout each of the sequences.

Memories can occupy our thoughts at any time and I feel if the stage was a little lighter it would have enabled us as the audience to immerse into and be a part of the work.

Brett Simon & Robyn Hendricks in At The Edge of Night. Photo Jeff Busby

Halcyon
Choreography Tim Harbour
Music by Gerard Brophy                   

The second ballet, by Tim Harbour, told of Greek wind goddess Halcyon who fell in love with a mortal man, Ceyx.  As with most Greek mythologies, this love angers the gods and tragedy results. 

Madeleine Eastoe was simply superb and perfectly cast in the role of Halcyon. Her beautiful legs and feet were exquisitely presented within the stylish and the provocative choreography, allowing her to flaunt her mesmerizing ability. Her mortal lover, Ty King-Wall, more than just assisted Madeleine. He presented her with passion and intent, enabling their skills to combine, creating exceptional dancing. Their first pas de deux had wonderful sculptured shapes and forms with some rather nice lifts evolving and transforming into detailed lines and images.

I enjoyed the 3D effect reflected in the heavens as it made the imagery of the gods more understandable and the storyline more realistic throughout.

Kevin Jackson dancing as Zeus and Danielle Rowe as Hera both gave commanding performances as did the entire cast.

I really appreciated the choreography and would be intrigued to see if Halcyon could be presented as a two or three act ballet with grander sets and better lighting. Like with At the Edge of the Night, I felt that this ballet lacked expression and interaction with the audience as it was in general too dim. I was straining to see faces. This was proven when the dancers did their curtain calls and I was astounded to see the lovely detail and colour in their costumes which had been hidden by the lack of lighting.

The Australian Ballet in Molto Vivace. Photo Jeff Busby

Molto Vivace                         
Choreography Stephen Baynes
Music by Frideric Handel

Molto Vivace is taken from the fetes galantes or gallant festivals of 18^th century France, where rich aristocrats enjoyed much leisure and grand parties. Two painters of the time, Fragonard and Watteau, who captured these festivals in their paintings, showed us different sides of human nature in their work and were the starting point for Bayne’s concept.

The ballet was bright (thank heavens) and the choreography was evocative, bawdy and erotic, with humorous comedy. It was very entertaining and one can only ponder at what artist Fragonard must have really been like. The set was a jigsaw of irregular shaped panels with secret doors opening and closing, revealing dancers standing, squatting, lying, entering and exiting in hilarious pandemonium.  

The cupids who ran the show danced around casting little spells (not unlike puck in A Midsummer Night’s Dream), with at times hilarious effect.  The two male cupids, Daniel Gaudiello and his deputy Brett Chenoweth were wonderful. Their eccentricity, especially Daniel’s strut, and effected antics combined to give us some very fine dancing. Both cupids were ably supported by Dana Stephenson and her deputy Eloise Fryer. The Sarabande and the Vivace couples stole the show with their witty, animated and communicative telling of what was really going in their propinquity of France during that period.

Abstract shapes and forms as dancers were carried or lifted along with playful aberrant choreography enabled the cast to project themselves in an array of anomalous and comic representations which helped to create a satire of 18^th century France.  Continuous peeking by the dancers, at who was going with or doing what to whom, was the thread that assisted in joining the whole ballet together.

The costumes were bright, colourful, and perfectly suited to the ballet with the exception of Adam Bull’s opening white jacket, which appeared far too oversized and made him look somewhat out of place. However, later in the ballet he returned without the jacket and then looked perfectly at home.

Artist Watteau, on the other hand, had completely different sensibilities to Fragonard. Here Bayne’s pooled the Lady, played by Amber Scott with her suitors Adam Bull and Brett Simon in a sophisticated alluring and idyllic trio with both boys vying for Amber’s attention.

Adam Bull won Amber’s affections and in the pas de deux that followed the two combined to give justice to the meaning of poetic perfection! The two were as one. Simple gestures such as a hand under the chin and glancing into each other’s eyes with ardent devotion really brought us into the pas de deux. Exquisite line, beautiful feet and rotated legs, displaying a technique envious to most, enabled Amber to be presented so skillfully by Adam. The only disappointment with the pas de deux was that Adam did not do anything except partner (a little more reminiscence of the 19^th century). One does have to ask, “could this be the next great partnership?” Only time will tell!

The ballet was wonderful. Although I could see many similarities with several other ballets, and it was a little predictable at times, I commend Stephen for putting more comedy in dance – an element that surely draws us all in. I hope that Stephen continues to explore this arena. Bravo!

Top photo: Madeleine Eastoe and  Ty King-Wall in Halcyon. Photo: Jeff Busby

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