Arts Centre Melbourne, State Theatre
September 19 2012

By Tamara Searle.

‘The most we can ask of any revival is that it not embarrass history too much’
Arlene Croce. Critic from The Past is Prologue.

The Australian Ballet presents the premiere of a version of Swan Lake by resident choreographer Stephen Baynes. It takes a certain combination of maturity and creative vision to choreograph a version of the hyperbole that is Swan Lake. Over decades we have witnessed Baynes’ creative vision in his new works for the Australian Ballet. Baynes has created masterpieces of symbolism with dazzling, daring do, swooping twists and languid bodies tying in knots that then unravel. He is an expert at choreographing from the score. We hear new things in the music watching Baynes’ interpretation of classical scores. Taking on Tchaikovsky seems like it would be possible for few other than Baynes, and it’s not his first full length creation on The Australian Ballet, so he has maturity as a choreographer.  Nevertheless, this production of Swan Lake lacked the audacity necessary to reinvent a classic for a contemporary context.

In the program notes Baynes states that it was his intention to create a new version of a traditional production of Swan Lake that would offer an alternative in the repertoire to The Australian Ballet’s Graeme Murphy production. Leaving aside the fact that to create a new version that is a traditional production is oxymoronic, Baynes states there was no question that the Act 2 choreography should remain as the original Marius Petipa work. And yet, he does not go on to say why some choreography should remain the same and not other sections. Certainly the Petipa choreography is iconic; the first entrance of the white swan is inscribed in ballet goers’ imaginations, audiences love the sublime order of the corps de ballet in Act 2, the great exultation of the Act 2 pas de deux, the virtuosity of the Act 3 pas de deux, and the tragic conclusion of great romantic love in Act 4. But why bother remaking any of it, if not all of it?

It is the court scenes of Act 1 and 3 in which Baynes has sought his most substantial revisions and created new choreography. Here Baynes’ trademark lyricism injected into the court scenes doesn’t allow a juxtaposition between the dispassion of the court and the lyricism of the swans. The traditional choreography mostly sits awkwardly with Baynes’ revisions, neither illuminating the other, but making both uncomfortable bedfellows. The fourth act provided glimpses of what might have taken flight had a greater risk been taken. In Act 4 Baynes choreographed the swans at length, rarely referring to the Petipa choreography. Here in the yearning of the swans against the will of von Rothbart we saw Baynes begin to transcend previous productions.

Briefly the traditional story is that of a woman, Odette, who has a spell cast on her by the villain von Rothbart, to remain a swan unless someone vows to marry her for her. Siegfried falls in love with the swan woman Odette, but is deceived into declaring his love for another, von Rothbart’s daughter Odile, so Odette is condemned to life as a swan, or death.

Baynes’ Swan Lake opens (sadly without an overture; the discarding of a convention that provides for the audience a bridge to the other world) with the Prince having a memory of unhappiness in childhood over the death of his father.  This production attempts narratives of psychological realism for the characters of the Prince and his Mother. The unhappy fate of Prince Siegfried remains a theme across the ballet. Baynes returns to Siegfried’s fate, rather than Odette’s fate, as a central narrative thread. In Baynes’ production, von Rothbart’s entrance with Odile is re-imagined as the entrance into the court of a gang of gothic new romantics, ready to seduce and deceive the Prince into declaring his love for one other than Odette. Baynes has shifted the divertissement Spanish dancers in Act 3 to become gypsies in Von Rothbart’s company.  In a somewhat strange addition the Queen is also seduced by exotics from von Rothbart’s consort. But when von Rothbart mimes playing the violin as part of the mechanisms of seduction, the action becomes comic. If the love story and tragedy of Siegfried and Odette is to be felt by the audience, it requires a real villain, not a parody. And so these narrative turns run into trouble. Siegfried, Odette and Odile, and the Queen are epic heroes, and Swan Lake is an archetypal fairytale, a myth which lives in symbolism, not in the domain of realism. Attempts to infuse it with realism only reveal the insubstantiality of the story.

The performances by The Australian Ballet dancers on the evening of the 19^th of September proved their technique.  Notable dancers were Lisa Bolte as the Queen Mother and Chengwo Guo as Benno, who both interpreted their roles with artistry and intelligence.

This production of Swan Lake by The Australian Ballet is a re-staging rather than a display of new choreography, a remix rather than a reinvention. Of course there is no one true Swan Lake possible, there are only ever versions. This version attempts to find new narratives within the fairytale, without enough interrogation of their thought line. The residual question is what prompted Baynes to work with the material of Swan Lake, leaving so many sequences untouched, cobbling together an unfulfilled patchwork, when he could be creating entirely original masterpieces? Of course the box office generated by presenting a traditional Swan Lake, over a new work, is a likely consideration.

Photo: The Australian Ballet’s Ty King-Wall and Amber Scott in Swan Lake. Photo by Georges Antoni

Mrs Macquarie’s Point in the Royal Botanic Garden, Sydney
March 22 2012

By Kristy Johnson.

Thursday 22^nd of March, media were treated to a rehearsal of Opera Australia’s La Traviata. Set at Mrs Macquarie’s Point in the Royal Botanic Garden, Sydney, the ultimate romantic opera tells the story of the ‘fallen woman’ or more figuratively, ‘the woman who goes astray’.

An impressive infrastructure installed on Sydney Harbour captured the huge production of Handa Opera’s La Traviata. Guests were invited to view spectacular sets, beautiful costumes, fireworks and a 9-metre chandelier sparkling with Swarovski Elements, suspended above a purpose-built shimmering stage on the waters of Sydney Harbour.

La Traviata is perfect for first-time opera-goers and was a visual treat, despite the poor weather conditions at hand. Due to an onslaught of rain, the production was delayed quite considerably, and when the rain finally eased off, the audience were only able to view a select few acts. Wearing black tie didn’t seem to matter much, when blue ponchos emblazoned with the Mazda logo were being thrown out left, right and centre. Considering the amount of money spent on the production, one would think that some form of shelter, even for the performers, would have been provided. Whilst my guest and I found it quite humorous to be watching Opera in the rain, one could not help but feel sympathetic towards the performers whose costumes seemed to already be ruined by the end of the first short act.

For what we did see of the dancing, Stephen Baynes delivered what you would have expected – great choreography. It was obvious that the dancers were required to possess solid technique and training in classical and contemporary styles. Having seen the dancers rehearse prior to the night, at the studios of Opera Australia, it was a delight to see the finished product.

Emma Matthews, who played the role of Violetta and Gianluca Terranova in the role of Alfredo Germont, did not disappoint either. The vocals were simply incredible.

Overall, despite the poor weather conditions, all had a great night. Delicious catering of gourmet pizzas and champagne ensured guests were kept happy and entertained.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events, dance reviews and resources for dance teachers.

By Kristy Johnson.

Renowned Australian choreographer Stephen Baynes, most notably recognised for his work with The Australian Ballet, is lending his hand to the opera.

An epic new outdoor production of Verdi’s tragic love story La Traviata, will see 16 dancers become a part of the visual spectacle, taking place on Sydney Harbour this March. Perfect for first-time opera-goers, you can expect beautiful costumes, fireworks, spectacular sets and well-rehearsed choreography, all under a 9-metre chandelier made with Swarovski Elements.

Dance Informa sat down with Stephen during rehearsals to discuss the process and challenges of choreographing for the opera.

Stephen Baynes

How have rehearsals been so far?

It’s such an unusual set-up with this amazing huge stage and quite an unusual configuration too. We’ve had a week out at Olympic Park with the singers, but this is actually my first time with the dancers today. And the dancers are great. It’s been good.

Is there any difference choreographing for an opera, as opposed to the ballet?

Oh yes. As far as making up steps, it’s not that different really. I think the particular thing about this situation is that in a way, the actual choreography is the actual steps. Whilst they’re important, we want to have something that looks good. It’s more like the atmosphere you create and how it’s going to combine with the chorus in this particular thing, how it’s going to come together as a whole. In fact, I didn’t really want ‘oh here come the dancers to do their little debut’. I want it to be really organic, but this party is a really out there party. It’s quite an underground type of thing and these people are all dressed up. They’re dressed up as gypsies and matadors, and they’re putting on a show.

During the audition phase were you looking for dancers with a strong contemporary or ballet background?

They had to have a bit of a classical background I think. It’s like singing; you need someone with that basic training. Contemporary wasn’t so important. It was more important that they had a good schooling and that they would be able to pick up the choreography. I wanted to see a lot of style and pizzaz and they came with that straight away.

Are the dancers from contemporary based companies?

A few of them have told me that they’ve worked with the opera quite a lot before. I think some of them are more commercial dancers, and a few girls look like they’ve come from contemporary companies.

Stephen Baynes rehearsing for La Traviata with the dancers

Were you already familiar with the story of La Traviata?

Oh yes! I’ve seen the opera many, many times, so I certainly know it well, which was a help. If I was choreographing for an opera that I had never seen or heard before, that might have been difficult (laughs). I go to the opera a lot, although this is the first production I’ve actually worked on. I jumped to the challenge because I do like the opera.

And will you be returning to choreograph for The Australian Ballet in their 50th anniversary year?

Oh yes, I will be choreographing for Swan Lake. It premieres in September in Melbourne.

Get your tickets to Handa Opera On Sydney Harbour: La Traviata
To find special deals on accommodation, travel and dining packages, visit operaonsydneyharbour.com.au. Shows run from the 24^th of March to 15^th of April, and tickets are available through Ticketmaster.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Laura Di Orio

When a dancer steps down from the stage and “hangs up his or her shoes”, it doesn’t always mean an end to a dance-centered career. Many go on to teach, open a studio, direct a company, design costumes, and several choose the route of choreographer. Those who make the shift from dancer to choreographer may find a most freeing, creative outlet to express themselves. And a former life as a dancer just may make that transition smoother and richer.

Dance Informa hears from two established choreographers, both former professional dancers, on how and why they made the jump and what their life as choreographer provides them artistically.

Did you always know you wanted to choreograph? When did those desires begin to surface?

Edwaard Liang, freelance choreographer, USA
www.edwaardliang.com
I never had the thought or desire to choreograph. I had a one-track mind in terms of what I thought I wanted in my career. When I was dancing with Nederlands Dans Theater, I was urged to try my hand creating in their annual choreographic workshops. I had such a great time with the process. I had no clue what I was doing, but loved it.

Where are you along this transition from dancer to choreographer? Have you completely shifted?

Edwaard Liang
I have completely shifted from dancer to choreographer. I don’t feel sad about not performing, I think because I’m still a part of this world. I get to take class and feel like a dancer and move when I want to, but don’t have the same pressures I used to before to be perfect. I get to enjoy movement for movement’s sake. Plus, I never got the ‘juice’ or ‘high’ from performing, so it was not hard to leave.

What does your life as a choreographer offer you that life as a dancer has not?

Stephen Baynes, resident choreographer for The Australian Ballet, rehearsing Baynes's "Beyond Bach". Photo by James Braund

Stephen Baynes
As a choreographer, I have relinquished the challenge and fulfillment of performing but have been challenged and fulfilled in a different way by creating my own dances and seeing them interpreted by wonderful artists.

Edwaard Liang
My life as a choreographer has given me more freedom and input into what I want to say. Making ballets are like making mini movies. You get to decide the music, costumes and sets. You feel like you’re able to mould the whole package.

For dancers who want to either delve into choreography or who want to transition completely, what suggestions do you have?

Stephen Baynes
Be very sure that you really feel you have something to say. Try to get as much experience in making dance as you can. It is a very practical endeavour and needs constant practice, but that can be difficult. More than anything else, search for your own voice, which doesn’t always mean that you can be completely original, but at least it is uniquely yours.

Edwaard Liang's "Age of Innocence" performed by Fabrice Calmels and Victoria Jaiani. Photo by Herbert Migdoll

Edwaard Liang
Keep working and creating, whether it’s a big or small project. The only way to get deeper, better and do richer pieces of dance is to get in there and create. Try not to edit. Find your own voice. Enjoy the process and time. This profession is one of the hardest, physically and mentally, so try to find joy in some of the little things that happen. Don’t always wait for the big promotions to celebrate yourself.

What’s next for you as a choreographer?

Edwaard Liang
I finished presenting my work at Fall for Dance at City Center in New York. I am now starting my first full-length ballet – a new production of Romeo and Juliet for Tulsa Ballet and also new works for San Francisco Ballet, Washington Ballet, Joffrey Ballet and a project with Yuan Yuan Tan and myself.

Stephen Baynes
I am busy with commissions until the end of 2012, including a full-length Swan Lake for The Australian Ballet’s 50^th anniversary, and hopefully there will be more after that.

Top photo: Edwaard Liang rehearing with Victoria Jaiani. Photo courtesy of Edwaard Liang

The Australian Ballet with Orchestra Victoria
Choreographer: Stephen Baynes

The State Theatre, Victorian Arts Centre
June 2011

By Tamara Searle

“He ne’er is crown’d
With immortality, who fears to follow
Where airy voices lead.”              
Keats

The Australian Ballet’s program Elegy is comprised of two meditative pieces, Requiem and Beyond Bach by Australian Ballet resident choreographer Stephen Baynes.  Both pieces pursue another-than-human world of spirit.  Requiem invokes voices from the afterlife and Beyond Bach explores the heavenward reach in pure classical form.   Baynes is in full control of the language of classical ballet; the illusion of effortlessness, the sublime lines, and dedication to musical scores.  It may at first seem strange that Australia has a master choreographer for classical ballet, until you consider that Baynes was a contemporary of Forsythe and Killian at Stuttgart Ballet early in his career.   

In Requiem Baynes explores through symbolism the impossibility of knowing more than our human condition. The piece takes its title from Faure’s Requiem which it is set to. The singers are integrated into the ballet by faintly lighting them on the outside of the set.  This is a lyrical and highly successful dramaturgical conceit, as the singers become the voices that the dancers can never quite see. Initially the audience are invited into a world of anonymous bodies. These bodies seek and turn restlessly. They are haunted by the voices they cannot see.   The figures gesture at life events and struggles. These events are framed by austere white walls, designed by Roberts and lit by Levings, which dissolve into blackness at the height of the proscenium. The performers are always seeking to know what is beyond these walls they are constrained within.  When not dancing they stand in tableaux with their heads cocked to listen to what goes on beyond the wall.  There are two pas de deux in which Kirsty Martin and Kevin Jackson, and Madeline Eastoe and Robert Curran fold into the music and each other in endless variations on the theme. Veteran of the ballet Marilyn Jones OBE performs the role of the omniscient mother, reminiscing on the lives of her children.  She could also be seen as a god figure as she intertwines and intervenes in the lives and movements of the dancers.

The maturity of Jones combined with the older principal dancers, the effervescent Eastoe, the solemn Curran and the supreme grace of Martin gave the Saturday night cast considerable gravitas. 

Beyond Bach is a reminiscence on the form of classical ballet, exploring the influence of Bach on the development of ballet in the courts of Louis XIV.  A lady in court attire sets the scene, gliding across the stage and disappearing enigmatically, before dancers in short tunics take off into athletic sequences of dance driven by the complexities of the Bach arrangements. Just as Bach and other art produced around the court of Louis XIV sought to represent the potential for transcendence through religion and the monarchy, each element of Beyond Bach draws our eyes and spirit upwards.  No more so than in the French court stage design by Carter. The candelabras lift up off the stage in the opening sequence, a huge gold staircase spirals up to the height of the stage and a floor to ceiling window at the rear all reinforce the motif of transcendence. It is a testament to Baynes that Beyond Bach is 15 years old. There are not many late 20^th century pieces of dance in repertoires by Australian choreographers. 

The program of Elegy had a notably shorter season, running for only a week, where a full-length narrative ballet may run for two or three weeks.  It is curious that programs of modern classical ballet such as these command less of an audience.  They are great works of art. 

Photo: Olivia Bell of the Australian Ballet in Beyond Bach. Photo: Branco Gaica

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

Published by www.danceinforma.com