A large crowd ignored the ominous threat of a downpour last night to enjoy their favourite ballet stars performing under the night sky at the Myer Music Bowl. Their faith was rewarded handsomely, as the weather held out to allow a carefully selected program of highlights play out in ideal conditions.

An early thrill for the eager crowd was the sight of the dancers on stage before the performance for an informal warm up.

Popular Artistic Director David McAllister, whose management has seen the company continue to flourish and thrive as a world arts force, introduced the evening. McAllister yet again demonstrated his charming combination of self-effacing humour and polished delivery in his brief address.

McAllister was joined by a representative from 30-year corporate sponsor Telstra to make the exciting announcement of the six nominees for the 2014 Telstra Ballet Dancer Award. The nominees are as follows:

Dimity Azoury (Coryphée)

Imogen Chapman (Corps de Ballet)

Ingrid Gow (Coryphée)

Cristiano Martino (Corps de Ballet)

Rina Nemoto (Corps de Ballet)

Jade Wood (Corps de Ballet)

Having not been to a Telstra Ballet in the Bowl before, the biggest surprise for me was the presence of the full contingent of Orchestra Victoria on stage. A more frugal presentation would surely have resorted to recorded music. The magnificent playing of Orchestra Victoria added significant splendour to the quality of the performance. Excellent sound design, and the natural acoustic quality of the Bowl, allowed a full, rich sound to be heard.

Music Director Nicolette Fraillon, whose presence was celebrated given that this was the night before International Women’s Day, conducted the orchestra with her usual nimble flair and highly focused precision. Leading into the first dance of the night, the orchestra played the overture of The Nutcracker.

Attired in the delicious pale musk pink of Kristian Fredrikson’s costumes, Lana Jones and Daniel Gaudiello (above) delighted the audience with the Act II pas de deux and coda from The Nutcracker. The pair worked first with a slow strength, then, for the coda, demonstrated incredible precision in their synchronization. Gaudiello’s masculine athleticism was on show in the first variation, while Jones’ radiant elegance was exquisite in the famous “Dance of the Sugar Plum Fairy.”

Applause for this sequence, and, indeed, each subsequent piece, demonstrated the true nature of the evening: a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other. With the 2014 Melbourne season to commence in a week with Manon, the evening was ideally placed to celebrate the start of the new year of ballet in Melbourne.

Next on the program was the supremely thrilling pas de deux Spring Waters. Reiko Hombo and Andrew Killian danced with sprightly dexterity and seemingly effortless strength. The overhead lifts were jaw-dropping, especially the final lift as Killian ran offstage with Hombo held high overhead.

Senior Artist Miwako Kubota paired with 2013 Telstra Ballet Dancer Award winner Christopher Rodgers-Wilson (above) for the serene Act III pas de deux from The Sleeping Beauty. Dressed in snowy white costumes, also by Fredrikson, the pair moved with gentle elegance and supreme strength. Current coryphée Rodgers-Wilson clearly demonstrated that he is ready to progress to a higher profile ion the company.

The final pas de deux presented was from 2013’s massive hit Cinderella. Leanne Stojmenov, who danced the title role in the world premiere, was partnered by Kevin Jackson for the final pas de deux of the ballet, in which Cinderella is finally reunited with her prince. As well as dancing with divine grace, the pair also brought the full spectrum of emotion of to this joyful and moving sequence.

The all too brief evening concluded with a fuller piece: Petipa’s Paquita. In contrast with series of duets, the stage was filled with dancers, gleaming in Hugh Colman’s gilded costumes. Each solo was performed with delightful grace and joy, bringing the evening to an uplifting and memorable conclusion.

The short program certainly left the audience wanting more. Fortunately there is only a week to wait for Manon.

This review was published on Theatre People 8 March 2014.

Achieving a splendid synergy between content and style, The Australian Ballet’s new season of Sir Kenneth MacMillan’s Manon complements the brand new orchestrations of Massenet’s music with lovingly refreshed sets and costumes as well as Principal Artists at the top of their form and Guest Artists drawn from the ranks of ballet royalty.

As wonderful as every aspect on stage may be, the new orchestration is a true highlight of this season. British conductor and music scholar Martin Yates has carefully and intelligently re-orchestrated the score of Massenet’s music, which was originally stitched together by Leighton Lucas for MacMillan’s Manon in 1974. The result is a consistent, fluid piece of music that gently supports the dancing whilst also enhancing the emotional effect of the dramatic story.

Maestro Nicolette Fraillon leads Orchestra Victoria in a finely nuanced rendition of this new score. Dynamics are generally quite soft, particularly the very quiet opening bars of the overture, which have the settling effect of drawing the audience towards the music and, hence, the ensuing action.

Peter Farmer’s sets are designed on quite an epic scale, with set changes within each of the three acts taking place remarkably swiftly. Although these sets are admirably lavish and evocative, they are traditional to the point of appearing quite dated, particularly coming directly after 2013’s brand new production of Cinderella. Farmer’s costumes have a more timeless quality, and are certainly looking their best thanks to revitalisation from the Australian Ballet Wardrobe department. Innocent young lovers Manon and des Grieux stand out in powder blue against the seedier tones of burnt ochre, plum and olive worn by the townsfolk of 1780s Paris. Farmer’s designs trace Manon’s journey from rags to riches to rags with precision and intricate detail.

The description of Manon as the ultimate story ballet is no mere piece of marketing hyperbole. The darkly compelling story advances at a rapid pace, with plot developments of both violent and sexual natures punctuating the central love affair of Manon and des Grieux. There is barely a superfluous step in Kenneth MacMillan’s masterful choreography, with the traditional divertissements and featured dances of traditional full-length ballets largely eschewed in favour of almost nonstop action. Having previously staged Manon in 2008, The Australian Ballet is fortunate to have mature Principal Artists who are familiar with the work. Their superb work has been enhanced by guest repetiteurs Patricia Ruanne and Mark Kay.

In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon. With her characterisation slanting towards the naïve, loving facets of Manon’s personality, Dunn easily creates an endearing interpretation of the role, making the final stages of Manon’s short life all the more heartbreaking. Having engaged our affections, the sexual danger Manon experiences create palpable tension. Portraying the young Manon with lines of rigid strength, the floppy rag doll Dunn creates for Manon’s death scene is harrowing to watch. Dunn had the full and vocal support of the Melbourne opening night audience, with a round of applause for her entrance and an extended standing ovation for her curtain call.

With each year, stellar Principal Artist Adam Bull enhances his superb technique and physical beauty with layers of emotional complexity in his acting. His long elegant limbs are used to superb effect as the impetuous young des Grieux, and Bull develops a soulful, compassionate performance that adds significantly to the pathos of the story. An example of Bull’s strong stage presence comes in act two as des Grieux seethes with anger and jealousy at the sight of his beloved Manon on the arm of wealth Monsieur GM. While des Grieux has little or no dancing in this scene, Bull achieves the full range of emotion with his acting skills and physical presence. Beginning with an energetic early solo that conveys des Grieux’s instant love for Manon, Bull continues through the ballet in excellent form, achieving a touching chemistry with Dunn. The death scene pas de deux from the pair is extraordinary in its level of physicality and trust and in its dramatic effect.

Principal artists Andrew Killian and Lana Jones are luxury casting for the supporting roles of Lescaut, contemptibly avaricious brother of Manon, and Lescaut’s flighty mistress. Like Bull, Killian also brings a notable maturity to the role, matching the quality of his dancing with a sinister but believable acting performance. Jones tosses about her character’s head of red curls as the mistress dances to dazzle her lover and the assembled crowds. Killian and Jones share an absolutely brilliant pas de deux in act two as they dance at a party while Lescaut is drunk.  Providing a welcome burst of humour, their precision in this sequence is quite breathtaking.

Did I mention luxury casting? How about the Australian Ballet’s longest serving Principal Artist Steven Heathcote as the dastardly Monsieur GM and beloved former Senior Artist, and longtime ballet supporter, Julie da Costa as the decadent Madame X? Both of these artists bring an effortless grace to their roles and are a pleasure to watch. Da Costa is particularly effective when Madame X presents her courtesans at the party, showing Madame X to become quite carried away, perhaps with memories of her own past as a courtesan, in the centre of the circle of women. Heathcote’s handsome stature and confident presence allow him to easily convey the ruthless sexual and financial greed of Monsieur GM.

As the Beggar Chief, Soloist Brett Chynoweth again proves his value as a quirky and dynamic featured performer.

While Manon may not be the right ballet for the youngest of dancers to watch, adult audiences are sure to succumb to its extravagant and intoxicating quality.

Manon plays at State Theatre, Arts Centre Melbourne, until 24 March 2014, before playing at Joan Sutherland Theatre, Sydney Opera House, 3 – 23 April 2014.

Photos: Courtesy ofThe Australian Ballet.

This review published on Theatre People 15 March 2014.

An intimate celebration of the beauty of the human form in dance, Chroma is a thoughtfully curated presentation of the work of a wide range of contributing artists.

Above the considerable merits of the artistic input of the creative team, the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together. Where a full-length ballet may present two or three stars, Chroma features no less than eight of the ten currently reigning Principal Artists. In pieces that involve stripped back costumes, rapid movement and frequent close physical contact, the comfort, familiarity and confidence of the dancers in each other is an unbeatable asset. The result is a thrilling evening of unique dances, which vary from jarringly confronting to hauntingly poetic to delightfully humorous.

Equal parts sharp and fluid, the Australian premiere of British choreographer Wayne McGregor’s “Chroma” is an enthralling opening to the program. Deliberately bolstered by the rare use of amplification, Orchestra Victoria sound sensational while playing composer Joby Talbot’s score, which chiefly consists of instrumental covers of The White Stripes by Jack White III. While the compact size of John Pawson’s white box set design is not ideal for State Theatre sightlines, its smooth lines create a clean backdrop. Using five pairs of neutral nude tones, Moritz Junge creates an androgynous effect by dressing the male and female dancers in the same apparel.

With six of the ten dancers drawn from the ranks of the Principal Artists, “Chroma” is like watching a masterclass of modern dance. With brisk athleticism, the dancers work as one to bring the piece to life. Highlights include the exciting male trio by Andrew Killian, Brett Chynoweth and Christopher Rodgers-Wilson, who is sure to be promoted at any moment. Beloved stage couple Adam Bull and Amber Scott share a quiet moment for a meditative, highly romantic pas de deux.

“Art to Sky,” by resident choreographer Stephen Baynes, 
receives its world premiere this season. Tchaikovsky’s Mozartiana, used previously by George Balanchine, remains a perfect piece of music for ballet. Following the excitement of “Chroma,” “Art to Sky” makes a bit of a slow start, but gradually wins the audience over with its playful appeal and romantic overtones. Hugh Colman’s costumes, the most colourful of the night, stand out against the full size black box stage in muted, smoky jewel tones.

With a small piece of a castle overhead, there is a sense of fairy tale fragments, giving the work shades of narrative thrust. Killian and Madeleine Eastoe perform a charged pas de deux that would be welcome in any full-length ballet. In a clever trick, as part of Rachel Burke’s lighting design, Eastoe disappears before our eyes in the corner of the stage after the pas de deux. Lana Jones, in tiara and silvery white slip, performs a lovely sequence with the men, in which she is tossed about like a princess doll whilst also treating the men as her own playthings. Chengwu Guo dances a mesmerizing, masculine solo. The act concludes with a lovely combined piece from the fourteen dancers.

In the first of a fascinating pair, Jiří Kylián’s “Petite Mort” makes a bold beginning by setting a slow but tightly timed dance to the breathless sound of silence. Five male dancers move gradually downstage, using fencing foils as dramatic props. The concentration and unified teamwork of the men is terrifically impressive.

The female dancers present the first touches of humour in Kylián’s works when they glide on in black Elizabethan gowns, which we soon see are just solid fronts on wheels. These “gowns” are used in both works to charming comic effect. “Petite Mort” is the more serious of the pair, presenting a series of hypnotically sensual pas de deux.

Both of Kylián’s pieces are set to the serenely lovely music of Mozart. Ever impressive music director Nicolette Fraillon handles the variety of styles of the evening with effortless aplomb, with Orchestra Victoria also rising to the challenge of giving a unified sound to the somewhere diverse aspects of the set of scores.

In “Sechs Tänze,” Kylián takes the Mozart angle a step further by dressing the dancers in powdered wigs and period make up, which not only allow for heightened expression but also contrast humorously with the light calico costuming.

Chroma is an accessible, nicely balanced evening of entertainment performed by dancers at the top of their game.

Chroma plays at State Theatre, Melbourne Arts Centre, until 14 June 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Jess Bialek

This review was published on Theatre People 7 June 2014.

Melbourne audiences finally have the opportunity to experience Bodytorque as The Australian Ballet presents an evening of brand new choreography.

In the absence of the prancing, posing and preening involved in a full length ballet, Bodytorque is a chance to see the beloved company dancers in a raw, exposed expression of pure dance.

With a linking theme of DNA, five emerging choreographers have been given the extraordinary gift of creating short new works with the full resources of The Australian Ballet. The result is a complementary yet varied set of dances. An impressive achievement reached by all five is the inclusion of a turning point or moment of realisation, which is a remarkable feat given the brevity of each piece.

In “Corpus Callosum,” Richard Cilli contrasts sharp, disciplined, rhythmic movement of the five dancers with the gently flowing music of James Wade. The piece begins and ends in silence (save for a cacophony of coughers), and represents the rapid-fire process of neurons and synapses as they fire messages about the brain. Dressed in tight leather outfits, the dancers are in constant motion and frequent contact as the messages in dance are passed along.

Joshua Consandine begins “I Cannot Know” in front of the curtain, as a girl in Alice blue enters, then pauses in thought. In front of a projected royal blue swirl of constellations, the girl seeks answers in the stars, represented by seven dancers in skintight sparkling black bodysuits. She moves about in stiff, wide-eyed wonder until reaching a point of awareness. First removing her bag and then her shoes, the girl moves in and about the dancers, being lifted and spun, reveling in her newfound knowledge.

Consandine has chosen the dissonant music of Georges Lentz’s for his work. Music for the evening is played by members of Orchestra Victoria, with Guest Conductor Vanessa Scammell doing a splendid job of successfully switching between a challenging range of styles in quick succession.

The first section concludes with “Same Vein” by Alice Topp. The curtain opens to a front projection showing symmetrical animated ink stains that morph into various physiological shapes. While DNA makes humans different, Topp represents a commonality between all humans, as well as animals. In various combinations of black and white, the seven dancers perform traditionally balletic choreography to the romantic music of Rachmaninov.

Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50. The male pair’s moves are stronger, though not quite as graceful, compared to a male and female dancer. The erotic charge of the dance is delicately balanced with gentle affection between the pair.

The second half opens with “Control,” in which Richard House explores our nature to seek order in our lives. The concept is partly represented in the slow and controlled choreography, which again has roots in traditional ballet. Five dancers in tiny tight black vinyl outfits are framed by a lighting installation of eight pieces, each having a spotlight and a vertical coloured fluorescent light. The effective central sequence has each partner replaced one after the other, conveying the message of enjoying the moment rather than seeking to control it. The romantic elements of the piece give it an enjoyable feel, with the presentation of the dancers allowing them to be seen looking their best.

New Resident Choreographer Tim Harbour concludes the night with “Extro.” The twelve dancers perform a genuine crowd pleaser that even manages to silence the coughers. Harbour’s close fitting costumes, in shades of blue, grey and black, are noticeably more suited and flattering for dance than those seen in “Art to Sky” in Chroma. Górecki’s Concerto for Harpsichord & Strings creates a thrilling pulsing beat that gives the piece a real drive.

The rear black curtain is open just a chink to reveal a glimpse of the waiting exterior as dancers prepare their interior selves to perform. The curtain opens, and presentation and presence lift just enough more to suggest a performance is taking place. In the final moment, the dancers form a collapsed heap as if totally spent by the giving of their interior passion.

This brisk, stimulating program, sensibly priced to reflect the relatively simple production elements, is a must for true lovers of dance.

Bodytorque.DNA plays again at State Theatre, Melbourne Arts Centre, on 18 and 24 June 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Jeff Busby

A pair of classical treasures, Ballet Imperial and Suite en Blanc make a neatly balanced midyear complement to the streamlined modern dance of Chroma. With nary a trace of narrative or character, the dances celebrate the classical tradition in its purest form, leaving the audience to relax and take in the beauty.

The regal tone of George Balanchine’s time-honoured Ballet Imperial is established with a majestic showcloth bearing a griffin-laden coat of arms that would not look out of place on Game of Thrones. With a simple backdrop of storm clouds and bit of gold curtain overhead, Hugh Colman’s costumes are far more attractive than his basic set design. The lead dancers’ rich sapphire costumes stand out attractively against the sea of deep turquoise of the corps.

The call and answer of Tchaikovsky’s
 Concerto No. 2 is reflected beautifully in Balanchine’s choreography, with extensive variations creating all kinds of symmetry balance.

Young pianist Hoang Pham sends a forth a liquid cavalcade of notes on grand piano. His playing achieves a solid level of balance with the orchestra, creating a sound so rich that it is easy to miss whether piano or orchestra are playing.

Adam Bull distinguishes himself as much from the strength and grace of his dancing as from his mature, highly focused stage presence. Achieving rather incredible speed in entrechat, Bull also creates a mighty impression with elegant leaps of such power that he seems to float momentarily in the air.

Lana Jones is a graceful partner who maintains a placid smile even during the most demanding of moves. As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.

The gleam that shines forth from Miwako Kubota is not just due to the most sparkling of sapphire tutus, but from the way she beams with pleasure at the combined beauty of the music and dance, her enjoyment infectiously inspiring our own pleasure in the performance.

Benedict Bemet and Ako Kondo are lovely soloists, whose radiant smiles complement the quality of their dancing. Brett Simon and Rudy Hawkes provide strong support in the true sense of the word, in that they contribute skillfully to the dance while maintaining a neutral stance so as not to draw attention from the featured dancers and the ensemble.

Serge Lifar’s perennial favourite Suite en blanc remains a virtuosic display of dance. If taken as an indicator of the company’s current depth of talent, it gives a very healthy impression indeed, with each divertissement drawing rapturous, appreciative responses from the crowd.

Eduard Lalo’s music begins with a hypnotic pulse before developing a splendid sense of pageantry as the piece proceeds. Maestro Nicolette Fraillon draws a shimmering performance from Orchestra Victoria.

William Akers’ lighting, recreated by Graham Silver, creates variation and depth in the all white costumes, bathing the dancers in warm light downstage while casting a ghostlier white upstage.

Beginning with the rather spectacular stage arrangement of the full company, which draws instant applause, Suite en blancpresents a varied collection of dances, each more wondrous than the last. Highlights include Pas de Cinq, in which the serene Kondo is given terrifically masculine support from Brett Chynoweth, Marcus Morelli, Luke Marchant and Jacob Sofer. Pas de Trois illuminates the highly polished flair and control of principal artists Madeleine Eastoe, Kevin Jackson and Andrew Killian. Chengwu Guo’s supreme athleticism results in a jaw-dropping display of speed and elegance in Mazurka. Amber Scott and Hawkes make the central Pas de Deux as dreamily romantic as that from a full-length story ballet.

The final moments see a brief snippet from each section in quick succession, leaving the audience gasping in appreciative wonder.

Ballet fans who usually only favour story ballets will delight at the abundance of classical dance on display here. No lover of tutus should miss Imperial Suite.

Imperial Suite plays at State Theatre, Arts Centre Melbourne, until 28 June 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’sManon“In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: courtesy of The Australian Ballet

This review published on Theatre People 21 June 2014

A dazzling and thrilling new production, Stanton Welch’s La Bayadère is world-class entertainment that shows The Australian Ballet at its best.

Besides a preponderance of truly beautiful dance, the ballet calls for exemplary acting skills and stunning corps work, and the dancers of The Australian Ballet are more than up to the challenge.  The production is also distinguished by large-scale scenery, glittering costumes and glorious music.

Created by resident choreographer Stanton Welch in 2010 for Houston Ballet, La Bayadère is set to be an instant gem in The Australian Ballet’s repertory treasure chest. The decision to present this version in Australia is a canny choice by Artistic Director David McAllister and team. Apart from providing a sensational showcase for the dancers, the production was clearly designed for a similarly sized space to the mighty State Theatre, where it looks superb.

Welch’s choreography is insightful and carefully considered as well as being spectacular to watch. Storytelling is crystal clear, and the dramatic plot unfolds with plenty of tension and surprises. The lead characters are established as distinct “roles” in the true sense of the word, rather than just straightforward opportunities for dance. Welch has also crafted an interesting and varied mix of characters in the ensemble, and has deftly added moments of featured male dancing when a boost of masculine energy is needed.

In a brief prologue, noble warrior Solor has the good fortune, bravery and skill to slay a ferocious Bengal tiger, propelling he and his humble family in wealth and position. He loves the fair Nikiya (the titular Bayadère) but is briskly betrothed to the Rajah’s daughter Gamzatti, whose jealousy prompts her to dispatch Nikiya with the aid of a deadly snake. One of the most cherished classical dance sequences in the entire canon then follows in act three when Solor’s opium-assisted relief transports him to the nirvana of “The Kingdom of the Shades.”

Solor and Nikiya, danced by Daniel Gaudiello and Madeleine Eastoe on opening night, begin their love with a slow and sensuous pas de deux. Dancing with exquisite delicacy and artful grace, Eastoe conveyed the vulnerability of the young maiden, endearing the character to the audience. Gaudiello showed unwavering strength, with his characteristic charisma and showmanship shining through as the ballet progressed. His all too brief solos in acts two and three were exceptional.

Acting skills are key in act two when Solor is plagued by doubt as he is forced to dance with Gamzatti, and Nikiya knows she must perform as a temple dancer but cannot bear to see Nikiya with Gamzatti. In the third of their act three pas de deux, the pair really soars, leaving no doubt of the power of their love. Taking a visual cue from their second Shades pas de deux, Welch crafts a stunning climactic image as Solor follows the long veil of Nikiya to join her spirit after the destruction of the temple during his wedding to Gamzatti.

Lana Jones captured the venom and unhinged mania of Gamzatti, contrasting the unpleasantness of the envious character with dancing of enticing beauty. Laura Tong was an excellent partner for Jones, playing the equally spiteful Ajah. The pair have a delicious final moment after their plan succeeds, as they exit in horror not at the murder they have committed but at the final kiss shared by the heartbroken Solor and the dying Nikiya.

John Lanchbery’s expert arrangements of Ludwig Minkus’ lovely music create a score that has a quasi-operatic feel in terms of strongly suggesting mood through music and in the use of character motifs. Guest conductor Philip Ellis leads Orchestra Victoria in a wonderful performance that brings out the deepest of brass and lightest of strings.

Peter Farmer’s costumes and set designs are on a rather epic scale. The muted pastel jewel tones of the costumes suggest a noble, understated majesty, with glistening gold trimmings providing an extra sparkle. Female costumes are revealingly slight and filmy, until the glorious avalanche of pristine white tutus of the Shades.

While the settings are impressive in scope, the traditional nature of their design and implementation gives an old fashioned appearance to the production. In terms of bringing ballet design into the new millennium, the sets pale in comparison with 2013’s Cinderella.

Francis Croese’s lighting design greatly enhances the appearance of the sets, using slow rises and plenty of haze to create painterly images, and using contrasting colours to create the appearance of further depth in the stage. The arrival of the Shades is masterfully lit, with the first few dancers glowing white on an otherwise blackened stage, and then the lighting increasing as the full complement of 24 Shades (plus soloists) arrive.

Top marks to the female artists for the discipline and skill that creates their mesmerizing work in the entire Shades sequence. To be lost in the serenity of this scene is what going to the ballet is all about. Even while dressed identically to some 27 other dancers, each Shade Soloist (Miwako Kubota, Ako Kondo, Juliet Burnett) made an individual impression with their dancing.

Welch’s production makes the deceptively challenging ballet seem effortless. Fans will thrill to the exotic variations; newcomers will be blown away.

La Bayadère plays at State Theatre, Melbourne Arts Centre, until 6 September 2014. La Bayadère plays at Joan Sutherland Theatre, Sydney Opera House, 6-22 November 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Adam Bull and Lana Jones in Imperial Suite “As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.”

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Jeff Busby

While almost every ballet company in the world trots out its Nutcracker every year (as a fundraising drive of sorts), The Australian Ballet reserves their presentations of the immortal classic to be part of their repertory seasons. Making it even more special is the sumptuous splendour and theatrical magic of Peter Wright’s glorious production.

First seen in Australia in 2007, this 24-year-old version must have seemed quite avant-garde at its 1990 Birmingham premiere. While there is a decadent old-world glamour to the Stahlbaum family home, the abstract scenic collage of act two and the macabre undertones of the painted show curtain give the production a definite edge.

A clever highlight of John F Macfarlane’s scenic design is seen in act two, when a scrolling backdrop changes the scene to Drosselmeyer’s fantastic world. A raked reflective upstage floor gives the watercolour oversized floral designs an extra layer of gloss. The flow of scene changes is expertly managed, particularly the final dissolve back to the family home.

Drawing from the full spectrum of shades of red, Macfarlane paints a beautiful overall picture in act two, from the candy gloss scarlet and white of the Mirlitons to the dusky reds and pinks of the Roses to the palest musk pink for the Sugar Plum Fairy and Prince. Although still meeting the child-friendly expectation, there is a faintly sinister aspect to costumes for characters such as the dolls Harlequin, Columbine and Jack-in-the-Box. The rats are also more menacing than might be seen at Disney on Ice. These touches add interest to a show that is often designed to just be pleasant.

Back at the helm after a brief respite during La Bayadère, conductor extraordinaire Nicolette Fraillon presides over an exquisite rendition of Tchaikovsky’s hit parade score by Orchestra Victoria. The evening begins with a brisk and exciting playing of the overture. The orchestra displays delicate grace during any pianissimo sections, and considerable restraint is shown during the hypnotic Arabian Dance.

Wright’s choreography features a dream lead role for a young female dancer, with Clara taking part in many of the act two divertissements rather than just watching. Look every bit the breathless fifteen-year-old girl, Benedicte Bemet danced the role beautifully on opening night, giving an altogether enchanting performance.

Kevin Jackson brought a heroic nobility to the Prince, with his mighty quadriceps propelling him to great heights, especially in his second act two solo. Bolstered by a magical eleventh hour arrival, and one of the most famous pieces of music, Madeleine Eastoe enchanted the crowd as the Sugar Plum Fairy as she danced with elegant refinement and precision. In their climactic pas de deux, Jackson and Eastoe successfully injected a spark of romance, which is no mean feat given that this is the first and last scene shared by the pair.

In a somewhat unusual choice, magician Drosselmeyer was played by Principal Artist Andrew Killian rather than a guest artist. In an acting part that involves little or no dance, Killian infused the role with majestic power, creating many moments of stage magic thanks to Drosselmeyer’s extra large cape.

Jacob Sofer, Luke Marchant and Jarryd Madden performed the mighty Russian dance to great acclaim. Christopher Rodgers-Wilson and Vivienne Wong displayed carefully metered control, and a touch of cheeky passion, as live dolls Harlequin and Columbine. Charismatic soloist Brett Chynoweth stood out in act one as Clara’s dancing partner, reliably imbuing an extra level of enjoyment to the role through his animated facial expression.

Special mention to young guest artist Paolo Cini, who created a delightful characterisation of Clara’s envious younger brother Fritz.

Even without the direct connection of the festive season, Peter Wright’s The Nutcracker stands in its own right as a wonderful piece of entertainment. The marvelous production and gorgeous dancing of are sure to thrill dance fans. Its success as a joyous introduction to ballet for young theatregoers is unrivalled.

The Nutcracker plays at State Theatre, Arts Centre Melbourne until 25 September 2014.

The Nutcracker plays Joan Sutherland Theatre, Sydney Opera House 28 November – 17 December 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Daniel Gaudiello and Madeleine Eastoe in La Bayadère “In the third of their act three pas de deux, the pair really soars, leaving no doubt of the power of their love.”

Adam Bull and Lana Jones in Imperial Suite “As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.”

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Jeff Busby

The Australian Ballet unveiled their “Year of Beauty,” announcing their eagerly anticipated 2015 season.

A couple of items had been known in advance, with tickets already on sale for a unique season Graeme Murphy’s Swan Lake at Sydney’s Capitol Theatre, and a fundraising campaign underway for the brand new staging of gold-plated classic Sleeping Beauty.

Sleeping Beauty will premiere in Melbourne in September, with seasons in Perth in October and Sydney in November/December. Directed by Artistic Director David McAllister, the new production will serve as a legacy of his highly successful tenure. Design promises to be a particularly exciting aspect of this new version, with both costumes and scenery coming from the brilliant mind of Gabriela Tylesova (Love Never Dies, The Turk in Italy).

While the season of Graeme Murphy’s Swan Lake will be exclusive to Sydney, Melbourne will be blessed by the quick return of 2013 smash hit Cinderella (below), which features choreography by Alexei Ratmansky.

2015 will see the return of Maina Gielgiud’s production of classic full length ballet Giselle in Melbourne, Sydney, Canberra and Adelaide.

Triple bill The Dream will celebrate the work of Frederick Ashton, with 1964’s The Dream  (based on Shakespeare’s A Midsummer Night’s Dream), as well as Monotones II (1965) and Symphonic Variations (1946).

A second triple bill 20:21 will feature a new work by resident choreographer Tim Harbour, alongside the premiere of George Balanchine’s Symphony in Three Movements (1947) and Twyla Tharps’ In The Upper Room (1987), which has been performed here previously.

After being seen in Melbourne for the first time this year, Bodytorque will not return in the same format as seen in the past. New choreography will be showcased in “pop-up” performances after each of the triple bills.

Full details of Season 2015 are available at The Australian Ballet. Subscription packages are on sale from 9am on Wednesday 17 September 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Kevin Jackson and Madeleine Eastoe in The Nutcracker “Kevin Jackson brought a heroic nobility to the Prince, with his mighty quadriceps propelling him to great heights.”

Daniel Gaudiello and Madeleine Eastoe in La Bayadère “In the third of their act three pas de deux, the pair really soars, leaving no doubt of the power of their love.”

Adam Bull and Lana Jones in Imperial Suite “As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.”

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

A second opportunity to attend this sumptuous presentation of Peter Wright’s The Nutcracker was too good to pass up, especially the chance to see popular Principals Adam Bull and Amber Scott in full flight.

Troubled by the occasional misstep on opening night, the quality of last night’s performance leaves no doubt that the season has securely found its feet. Conductor Nicolette Fraillon keeps many tempi quite brisk, and yet the dancers prove more than up to the task, creating many a thrilling moment. Technical elements are also running smoothly, with the assortment of magic tricks playing their part in adding to the wide-eyed wonder invoked by the splendour of the dance. The short opening sequence of act two, in which Clara flies by white goose as rats materialise from the mist below, is breathtaking in its theatrical beauty.

Brooke Lockett is an absolute delight as Clara. Blessed with a delicately angular face that gives the appearance of a perpetual smile, Lockett gently colours the winsome innocence of Clara with a hint of burgeoning maturity. Lovely as her work is in act one, Lockett really comes into her own in the second half, as Clara participates in many of the well-known divertissements. Not to take anything away from the wonderful dancers on show, but Lockett commands absolute attention thanks to the dazzling combination of her superb dancing and highly polished presentation.

A master of the more tortured, yearning princes, Adam Bull effortlessly changes gears here as The Nutcracker’s contentedly noble Prince, complementing his magnificent dancing with a serenely pleasant outlook. In their all too brief moments of pas de deux, Bull is an ideal partner for Lockett, with the long limbs of both creating lovely clean lines.

Brett Simon plays down the menacing aspect of Drosselmeyer’s countenance, acting as ringmaster in a gentler, subtler manner.

In the climax of the evening, the quality rises by another notch as Amber Scott enters as the Sugar Plum Fairy. Scott and Bull prove something of a dream team, bringing utter confidence to the grand pas de deux. Scott conveys a distinctly fairy-like flutter in her rapid movement and regal grace. The pair’s super-fast dancing in the brief final pas de deux is nothing short of astounding.

Special mention of Benedicte Bemet (our Clara on opening night) who makes an excellent Columbine. The precision of Bemet’s sharp, crisp lines infuse the enchanted doll with just the right amount of cheeky humour.

The combination of school holidays and an earlier start time led to an abundance of younger theatregoers throughout the capacity audience last night. While most of the adults in attendance would surely have had some previous experience of The Nutcracker, the thought of the magical spectacle as seen through young eyes adds a fresh layer of wonder to proceedings. The experience surely creates a healthy number of lifelong fans of ballet.

The Nutcracker plays at State Theatre, Arts Centre Melbourne until 25 September 2014.

The Nutcracker plays Joan Sutherland Theatre, Sydney Opera House 28 November – 17 December 2014.

Man in Chair’s 2014 reviews of The Australian Ballet:

Kevin Jackson and Madeleine Eastoe in The Nutcracker “Kevin Jackson brought a heroic nobility to the Prince, with his mighty quadriceps propelling him to great heights.”

Daniel Gaudiello and Madeleine Eastoe in La Bayadère “In the third of their act three pas de deux, the pair really soars, leaving no doubt of the power of their love.”

Adam Bull and Lana Jones in Imperial Suite “As a pair, Jones and Bull communicate in imperceptible shorthand that conveys trust and enhances their synchronicity.”

A range of artists in Bodytorque.DNA “Vividly representing the theme of all love being equal, Topp stages a rare pas de deux between two men, to the gorgeous sound of Faure’s Opus 50.”

A range of artists in Chroma “…the chief attraction here is the opportunity to see so many of The Australian Ballet’s wonderful Principal Artists on stage together.”

Adam Bull and Lucinda Dunn in Sir Kenneth McMillan’s Manon “In the final Melbourne appearances of her highly distinguished 23-year career, Lucinda Dunn makes a superb role premiere as Manon.”

A range of artists in 2014 Telstra Ballet in the Bowl “…a mutual opportunity for the dancers and the ballet-loving public of Melbourne to show their love and affection for each other.”

Photos: Lynette Wills (taken side stage)

Celebrating the glorious past and looking firmly toward the future, The Australian Ballet School marked the truly landmark occasion of their fiftieth anniversary with a wonderful evening of ceremony and celebration.

Concluding her remarkable 16-year tenure as Director, Marilyn Rowe has the distinction of being part of the entire 50-year history of the School, having started there as a student in 1964. What a thrill for Rowe to see all the success that has been achieved, and what a thrill for the audience to have a chance to see Rowe dance again.

Chairman of the Board Leigh Johns opened the night, and introduced a new short film that paid homage to the three outstanding women who have guided the School over its 50 years of operation: Founding Director Dame Margaret Scott, Director Gailene Stock and Rowe. Of particular significance was a comment by Scott regarding the School’s origins: Australia’s ballet schools used to work towards students achieving scholarships to train overseas, a trend Scott wished to reverse by having the dancers train here. To say that this wish has been fruitfully achieved is an understatement.

A Fanfare saw a procession of all current students, joined by past students now in the Australian Ballet as well as past students now retired. The epic assembly was capped off by the presence of Scott herself, a glittering gold cane the only concession to her age.

The major classical presentation of the evening was George Balanchine’s exquisite Raymonda Variations. Danced entirely by students, the strength and grace on display in Victoria Simon’s restaging of this pure piece of classical ballet indicated how well prepared graduating students are to move forward with their professional careers. The quality was completed by the recreation of Barbara Karinska’s original costumes, which featured heavenly shades of pale pink and ice blue. Principals Atau Watanabe and Callum Linnane exhibited the poise and polish of highly accomplished dancers, working together with notable synergy in their grand pas de deux.

The third section of the night brought together an eclectic mix of styles and featured some high profile guest dancers. Current stars of The Australian Ballet Adam Bull and Amber Scott joined a phalanx of some 14 male dancers for Paul Knobloch’s witty delight Valetta. Rowe herself surprised the crowd as the opening dancer for Areti Boyaci’s Soleá Por Bulería. Looking fit and eternally youthful in a stunning red flamenco dress, Rowe proved she still has “it.” Teachers Simon Dow, Joanne Michel and Lynette Wills also joined a selection of students for the lively sequence, which featured vocals by Lucía Leiva, and Werner Neumann on flamenco guitar.

Three works by Jiri Kylián completed the program, all performed exclusively by the students. Dream Dances began with a gorgeous pas de deux from Elise Jacques and Yipeng Xu, before Linnane again proved his power and flair in a thrilling solo. Chantelle van der Hoek and David Power next performed a cheeky pas de deux, which ended on a surprising upside down lift that drew appreciative gasps from the crowd. Evening Songs brought a change of pace as the dancers performed Kylián’s fluid, gentle choreography to the dreamy music of Dvořák. The grand finale was Piece d’occasion – Polonaise from Arcimboldo, a massed item from the entire company of Levels 6 to 8 students. Dressed in Joke Visser’s voluptuous, fiery red costumes, the dancers created physical fireworks before the climax showered the stage with a rain of actual golden sparks.

The highly memorable evening left no doubt that ballet in Australia is in a supremely healthy state, and should continue to be so for the decades to come.

The Australian Ballet School 50^th Anniversary Gala took place at State Theatre, Arts Centre Melbourne on 27 September 2014.

Mesmerizing and relentless, the world premiere season of Young Men by BalletBoyz garners much audience appreciation and leaves plenty of scope for interpretation and thought.

A co-production of BalletBoyz, Sadler’s Wells Theatre and 14-18 NOW, WW1 Centenary Art Commissions, Young Men is an entirely new modern dance work, with original score and designs. The piece is an ideal fit for the Sadler’s Wells venue and its devoted audience of dance lovers.

Choreographer Iván Pérez has created the work on the 11 male dancers of BalletBoyz, as well as two guest female dancers. Using a deliberately abstract, non-linear style, Pérez has conceived ten sections that cover facets of the training, experience and ongoing trauma of young men involved in war. There is no particular agenda or message being pushed; rather, the piece gives the audience the prompts and the space to think and reflect.

In “Desperate Disguise,” one of the female dancers portrays a woman going to the front to be with her man. The non-romantic nature of the overall piece is exemplified here, in that the woman is violently kept from her man by another pair of soldiers.

“Shell Shock” is a particularly effective section, in which the mental anguish suffered by a soldier is portrayed in the unrelenting physical contortions his body continuously forms. He is seen to be given comfort, but there are, of course, no easy answers.

The show is at its best when all 11 male dancers are in full flight. There is a strong sense of trust and innate communication between the men, as they run, leap and fall with a high level of abandon that would not be possible otherwise.

Keaton Henson’s score has a similarly abstract feel to complement the dance. There are snatches of melody, but more often the effect is that of a haunting soundscape, the deliberate use of repetition giving the piece a driving insistence. The music is expertly played by 14 musicians, who are housed upstage behind sheer panels that are often textured with projections.

Given the basic black box stage in use, Jackie Shemesh’s lighting is a significant and striking element of the production. Rows of side and overhead white lights show the dancers in stark relief or cast shadows and silhouettes. Dancers easily enter and exit from the inky blackness upstage. Carlijn Petermeijer’s dark-toned, comfortably fitting costumes adding to the air of quality of the production.

The World Premiere season of Ballet Boyz’ Young Men played at Sadlers Wells 14 – 18 January 2015

Young Men was reviewed 4pm 18 January 2015.

Photos: Tristam Kenton

As much fun for the dancers and musicians as the audience, Carlos Acosta’s Don Quixote is like being present at one big opera house party.

A work of unbridled joy, the festive music inspires exuberant merriment from the dancers, while conversely their energy and passion seems to motivate the orchestra to ever more spirited playing.

Having premiered only last season, the production has a distinctly traditional feel. Clearly, Acosta did not set out to radically transplant the story or drastically alter Petipa’s original concept and choreography. Thankfully, Tim Hatley’s designs eschew time-honoured crinkly painted backdrops in favour of sturdier and more creative sets. At the end of the prologue, we are teased with simple flats well downstage before they fly out to reveal the vast, merry town square flanked by tactile plaster and tile houses. Act two’s gypsy camp is found in an ominous forest, which segues into a delicious, surreal sea of scarlet daisies as Don Quixote dreams of Dulcinea. In act three, the stage is filled with the vast grey brick interior of the tavern, before magically reverting to the town square for the wedding festivities.

A match made in heaven, Steven McRae and Iana Salenko work together as if celebrating a decade-long partnership. The pair shares more than the same hair colour and very similar height, both dancing with utter confidence while radiating the sheer pleasure of their love of dance.

Blessed with a beaming smile, Salenko conveys an instantly likable and engaging stage persona. Neatly petite, yet evidently possessing rock-solid core strength, Salenko leaps with vigour while retaining an expression of composed grace. She maintains a serene presence in the dreamscape of act two while giving a virtuosic display of solo dancing; on a stage filled with some two dozen ballerinas, Salenko clearly wears the crown.

In peak form, McRae moves with characteristically nimble speed and astounding agility. In the act one finale, the length of his one-handed frozen lifts of Salenko draws audible gasps. An excellent actor as well, McRae immerses himself in the raffish character of Basilio, conveying a thoroughly charming allure.

In the final minutes of the ballet, Salenko and McRae’s solo work becomes increasingly thrilling. It seemed that even the gathered ensemble were just as happy as the audience to watch the stunning display.

Gary Avis captures the confused but well-intentioned ramblings of Don Quixote. Michael Stojko is a jolly presence as the faithful Sancho Panza.

Bennet Gartside is a dandy delight as preening peacock Gamache.

If there is a particular element of Acosta’s personal style in the choreography, it would seem to be in the Matadors. Tall and broad shouldered, these men move with the kind of masculine power that Acosta exudes. As famous matador Espada, Ryoichi Hirano does a particularly fine job with exhibiting the requisite masculine strength and stature. Hirano is more than capably partnered by Mayara Magri, giving a vivacious performance as Mercedes.

Hatley’s costumes increase in jewel tones as the evening progresses. The matadors practically sparkle, the floral can-can skirts of the gypsies are striking, and Kiri and Basilio’s wedding attire is pristine. A highlight of lighting designer Hugh Vanstone’s work is the glorious sunset he paints throughout act two.

Esteemed Maestro Martin Yates maintains effortless control over the Orchestra of the Royal Opera House as they bring out the rich colour and rhythms of Minkus’ score. Having arranged and orchestrated the score, Yates has an intimate and invaluable familiarity with the music. Special mention for the rapid castanet and delicate tambourine work of the percussion section.

The Royal Ballet’s Don Quixote plays again at Royal Opera House 21, 22 January 2015

Don Quixote was reviewed 7.30pm 19 January 2015

Photos: Simon Parris

Divine performances from the lead dancers elevate an otherwise elegant but somewhat lackluster ballet.

Tchaikovsky’s opera Eugene Onegin has enjoyed a healthy profile of late with new productions at Met Opera and Opera Australia, as well as further seasons of Bavarian State Opera’s 2007 staging. The opera is a classy affair, portraying heartbreak and unrequited love on a grand scale. It even contains some wonderful dance music. Unfortunately, none of this is used in John Cranko’s ballet.

Cranko’s choreography goes a long way to expressing the very lyrical sentiment of the opera, itself based on a novel by Alexander Pushkin. The difficulty with using this story as the basis for a full-length ballet is that the absence of a traditional boy meets girl love story means a scarcity of pas de deux. When the grandest pas de deux within the first two acts is a dream scene, there is little scope for true passion between the leads. There is a poetic beauty to unrequited love, but it is very restrictive to convey in dance. Ultimately, the ballet comes across as rather slight, save for one final, very moving pas de deux.

Tchaikovsky’s music, as selected by Cranko and his original orchestrators, is reliably lovely but undistinguished overall. Conductor Dominic Grier maintains very safe, sedate tempi. The Orchestra of the Royal Opera House plays with requisite sweetness, but the restrained performance is, for the most part, lacking in oomph.

While the lack of opportunity for pas de deux is frustrating, the ballet provides plenty of scope for acting in the story arcs of the lead characters.

Tatiana, danced by Marianela Nuñez, grows from bookish, love-struck country girl to mature, gracious Princess. With acting skills to match her extraordinary dancing, Nuñez conveys as much of Tatiana’s hopes and dreams through her face as her body, and appears quite overcome with emotion at the end of the night.

Eugene Onegin, danced by Thiago Soares, is a first seen as a brooding, aloof young man, whose reckless petulance goes on to have deadly consequences. He is later left heartbroken, doomed to live in regret for his earlier capriciousness. Soares’ tall, handsome, broad-shouldered appearance is an asset to the role, and he easily captures the noble carriage of the prepossessed young Onegin. Soares becomes completely immersed in the character, his incredible dancing becoming a natural expression of Onegin’s journey.

Onegin’s cavalier attitude is established in an early solo, danced with effortless confidence by Soares. As Nuñez floats back and forth en pointe, Tatiana watches, falling in love. When the anguished Onegin later recalls this moment, a corps of six dancers recreates Tatiana’s serene floating. Soares delivers an even more thrilling solo in act two as Onegin works himself into a frenzy before the duel.

Nuñez and Soares are superb together in the all too brief “mirror” pas de deux, clearly conveying the youthful fantasy of wide-eyed Tatiana and her dashing beau.

The highlight of the evening, however, is the pair’s final pas de deux, when the tables are turned and it is Onegin longing for Tatiana. Unlike the showy finales of romantic ballets with happy endings, this final piece is all about the characters’ disappointments and regrets. Finally having the chance to dance together again, Nuñez and Soares break every heart with the exquisite longing and sorrow expressed in their dance. The ability to physically convey all this emotion is far more challenging than just dancing beautifully, and the pair shows themselves to be more than up to the challenge.

As Onegin’s friend Lensky, Vadim Muntagirov has a nicely contrasting pair of solos, first showing Lensky as a joyful, carefree young man when he is romancing Tatiana’s sister Olga, then as a broken, despondent man before the duel with Onegin. Muntagirov easily portrays the full range of feelings, and his dancing is an absolute pleasure to watch.

Akane Takada dances Olga, showing herself to be a dancer of effortless grace and radiant beauty.

Ryoichi Hirano is a strong, noble presence as Prince Gremin, creating a noticeable difference between the younger, inexperienced Prince and the older, more self-assure man. As with the other leads, Hirano’s utter confidence with his dancing allows him also concentrate on acting the role, a combination that serves the overall performance to great effect.

Even the corps has an acting assignment, which they fulfill superbly, first playing effervescent country folk then refined members of high society.

Jürgen Rose’s sets are on a suitably epic scale, but their construction looks quite dated, particularly coming straight after the glossier production of Don Quixote. Rose’s costumes progress from autumnal to winter tones, with Tatiana’s progress through society very clearly charted by her costumes and the costumes of all those around her.

Onegin may not be the perfect full-length ballet, but with the right cast, as on this evening, there is a great deal to admire.

The Royal Ballet’s Onegin plays selected dates at Royal Opera House 27 February 2015

Onegin was reviewed 7pm 24 January 2015

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Photos: Simon Parris

Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire. With a cast full of characters who simply love to dance, Giselle is the ultimate ballet to enjoy for the sheer volume and beauty of its choreography. When described briefly, the story of a young girl who dances to death sounds ludicrous, but when performed with such tender passion, the tale achieves a touching poignancy that transcends the bare bones of the plot.

In addition to the exceptional quality of dance on show, the sterling achievements in affecting drama and clarion storytelling are surely due in no small measure to the return of Gielgud to the rehearsal room. The work of the full cast is representative of a company in peak form, with nary a gimmick or special effect needed beyond the pure talent on display. The highly traditional production has the stage is bathed in rich autumnal tones for the woodland setting of Giselle’s village, before switching to icy midnight blues for act two’s graveyard location. Peter Farmer’s sets are a deft balance of realism and stylization. William Aker’s lighting, reproduced by Francis Croese, uses dappled light and plenty of haze to create depth and texture in the scenery, particularly in the graveyard.

Farmer’s highly attractive costumes not only serve the characters well but also features small touches that subtly enhance the beauty of the dance. The level of splendour rises with the arrival of the royal party in act one; the glamorous white ensemble for Princess Bathilde is especially grand. In a neat synchronicity between costume and lighting, the veil-draped Wilis resemble graveyard tombstones when they magically first rise from the ground in act two. Conductor Nicolette Fraillon presides over Orchestra Victoria as they give a superb rendition of Adam’s expressive score. Dynamics are particularly pronounced, and the playful nature of the act one music contrasts very nicely with the plaintive longing heard in act two.

Having announced her imminent retirement this month, Principal Artist Madeleine Eastoe seemed to receive an even greater outpouring of love from the opening night audience, with many knowing it will be on the of the very last times they see her dance. Eastoe is exceptionally effective in capturing the young and playful aspects of dear Giselle, winning hearts immediately as the delicate and loving young woman. Playing down the histrionics, Eastoe gives a subtle reading of the mad scene, bringing a dignity and naturalism to Giselle’s untimely death. For both the energetic and ethereal moments, Eastoe’s dancing has a lightness and purity that matches the gossamer costumes. The aching longing of the character seems to inhabit her very bones as Giselle yearns to connect with Albrecht from the spirit world. Albrecht may be a role debut for Kevin Jackson, but when a part fits as perfectly as this there is a sense that he has been dancing the character his whole life. Jackson’s masculinity suits the role of the noble hunter very well, and he develops tangible chemistry with Eastoe. A jaw-dropping series of high jumps (perhaps 32 in a row) gives an excellent demonstration of Jackson’s strength and grace.

A crowd favourite on opening night was the delightful suite of dances known as the Peasant pas de deux. Reiko Hombo and Chengwu Guo really stole the show at this point, the stunning quality of their dancing enhanced by their radiant smiles. Andrew Killian deliberately frays the edges of classical technique to convey the raw, impulsive nature of jealous admirer Hilarion. Natasha Kusen looks divine, and expertly portrays the upright carriage and generous grace of Princess Bathilde. Former star Principal Lisa Bolte brings immeasurable experience to the role of Berthe, Giselle’s devoted, protective mother.

As mighty Myrtha, imperious Queen of the Wilis, Ako Kondo is another dancer to almost steal the show, so compelling and enjoyable is her finely honed performance.

While a multitude of truly lovely work is on display in act one, it is the Wilis that really give the corps the chance to shine. Moving with a precision of unity, the corps dancers are a wonder to behold as they ever so delicately perform the unearthly dance of the tragic spirits. Giselle plays at State Theatre, Arts Centre Melbourne until 23 March 2015, then tours to Sydney, Canberra and Adelaide.

Man in Chair has also reviewed:

Roberta Marquez and Steven McRae in Giselle at Royal Ballet

Svetlana Zakharova and Roberto Bolle in Giselle at La Scala

Footnote: Dear Arts Centre front of house staff, latecomers have no right to disturb the viewing pleasure of audience members who bothered to arrive on time. Please lock them out.

Photos: Jeff Busby

The Australian Ballet finds an ideal balance between classical story ballet and classical abstract ballet in this delightful evening of Frederick Ashton masterworks.

The program commences with a pigeon pair of plotless pieces, each blending classical dance with subtle but distinct modern edges.

Each of the perfectly matched pair in the first half projects an air of tranquil serenity. Grounded, exquisitely controlled dance comes forth gently in these ponderous, delicate offerings.

Monotones II is set against the dark blue of twilight, with a trio of beautifully matched dancers looking like literal monotones in full length unisex white unitards. Capped in tight white turbans and flecked with hints of glitter, the trio moves with tight precision. The dancers’ pristine white costumes are reflected on the gleaming tarkett.

Natasha Kusen is flanked by Brett Simon and Jared Wright in arrangements that alternate between sharply symmetrical designs and breakaway pairings. Satie’s music flows ever so languidly, yet movement is still rhythmically synchronized thanks to well rehearsed shorthand communication that is telegraphed ever so surreptitiously.

As the twilight fades to the full dark of night the under-fifteen-minute piece is over all too soon.

After the briefest of pauses, the curtain reopens to the startling vivid yellow backdrop of Ashton’s Symphonic Variations, which is enjoying its long-awaited Australian Ballet premiere season. While the soaring black lines on the scenery apparently represent the rolling hills of an unspoiled England, they could equally be interpreted as the lines of the musical stave gone haywire, tying in with the variations of the ballet’s title.

The piece opens with female dancers Dimity Azoury, Natasha Kusch and Ako Kondo taking centre stage, framed by males Brett Chynoweth, Cristiano Martino and Christopher Rodgers-Wilson. Again in white, with neat black trim lines to complement the scenic design, the six dancers remain on stage throughout, gently pushed and pulled into various combinations.

Franck’s music is arranged as a call and answer conversation between grand piano, played by Stuart Macklin, and other instruments. Each dancer has their moment to lead as the music gently ebbs and flows around the pit. In a neat conclusion to the cyclic work, the piece concludes with the dancers back in their opening positions.

Particularly striking in these stripped back, unadorned works is the level of sheer beauty the dancers can create even without the trappings of tutus, tulle and tiaras.

In crisp contrast to the sheer open stage of the first half, the curtain rises after interval to reveal the richly detailed forest setting of The Dream, Ashton’s miraculously condensed telling of Shakespeare’s classic comedy A Midsummer Night’s Dream.

David Walker’s tactile, textured sets look all the more intricate for the mystical lighting design of John B Read (recreated here by Francis Croese). Walker’s fairytale costumes share a unified palette of dark turquoise green with the mossy foliage of the scenic design. The pairs of lovers stand out in warm shades of amber.

Madeleine Eastoe and Kevin Jackson are a superbly regal pair as Titania and Oberon, imparting the storytelling with flair and conveying the gentle comedy with ease. Sporting a billowing gossamer cape, Jackson is nonetheless as masculine as ever, modifying his commanding presence for this pleasantly genial role. Eastoe is a natural Fairy Queen, moving with heavenly grace and beaming with angelic joy. A grounded, free flowing affair, the pair’s climactic pas de deux ties in strongly with the earlier ballets, nicely tying the evening’s program together. Eastoe and Jackson dance with effortless beauty, making Eastoe’s imminent retirement all the harder to take.

As nimble sprite Puck, Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI. Guo’s brilliantly controlled movement and delightful facial expression captures the spirit of mischievous Puck perfectly, adding further layers of enjoyment to the storytelling.

Interludes by dainty fairy corps punctuate the briskly told tale. Ashton uses a different vocabulary of dance for The Mechanicals, who make a masculine entry midway. Corps de ballet dancer Joseph Chapman makes a wonderful showing in the crowd-pleasing role of Bottom, the mechanical who is cursed with a donkey’s head. Dancing en pointe, Chapman prances about with utterly deceptive ease, creating delicious moments of comedy as Bottom nibbles on the flowers on Titania’s dress and “brays” to Mendelssohn’s music.

Galvanised by the expert creative input of a legion of international experts, including the “owners” of each ballet, The Dream is a polished, ponderous, pristine night at the ballet.

The Dream plays at State Theatre, Arts Centre Melbourne until 13 June 2015.

In this Year of Beauty, Man in Chair has also reviewed:

Madeleine Eastoe and Kevin Jackson in Maina Gielgud’s Giselle: “Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire.”

Photos: Daniel Boud

Having first dropped slipper in the Melbourne 2013 premiere, Alexei Ratmansky’s new staging of Cinderella confirms its status as an instant favourite of the repertory. Far from a safe, sweet storybook adaptation, Ratmansky’s bold, intriguing choices are anything but predictable. Combined with Jérôme Kaplan’s equally fascinating designs, this is a richly detailed, highly entertaining production that rewards repeat viewings.

Part of the enjoyment is the scope for different artists to share their interpretation of the main roles, which have a fluidly expressive quality rather than a tightly choreographed rigidity. The piece is also enhanced by the nicely balanced blend of cheeky humour and sweeping romance. With several traditional full-length ballets seen since this production premiered, the scope of Kaplan’s scenic design can be appreciated all the more. The sweeping scale and sumptuous details are striking, but it is the dynamic nature of the fluid scene changes that really set the production apart. Massive sets glide in and out with an integrated grace that would make the most lavish music theatre spectacle weak with envy. Combined with the judiciously selected and artfully created projections of Wendall K. Harrington, and the expert lighting of Rachel Burke, this is modern theatre of the highest calibre.

Kaplan’s textured, tactile costumes provide fascinating visual appeal. The swirling cosmos of personified planets, visited by Cinderella at the end of act one, are particularly attractive.  Rarely is costuming such a key part of a narrative as in Cinderella’s ball scene: the women begin in smoky-hued pant suits then all promptly change to match Cinderella’s feminine cinched-waist dress. The Stepmother and Stepsisters, meanwhile, reappear in pantsuits only to find, to their dismay, that they remain out of step with fashion. The cut and colour Stepfamily’s costumes complement their humorous antics perfectly; the sight of Dumpy trying to stretch her short pink coat remains a delightful moment.  One more word on design: the program notes provide an answer to the meaning of the setting for Cinderella’s home. The family lives in an old theatre, full of abandoned props and treasures that Stepmother has collected.

Maestro Nicolette Fraillon’s characteristic attention to detail results in a superb performance of Prokofiev’s majestic score by Orchestra Victoria. Dynamics are exquisite, with particularly tender playing heard from the violins as well as oboes and clarinets.

While it was disappointing not to have retiring Principal Artist Madeleine Eastoe dance Cinderella on opening night (as was originally listed on The Australian Ballet website), the opportunity to see soon-to-be-Aurora Lana Jones in the role proved to be most auspicious. In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience. Jones deftly changes styles in line with the story’s emotional arc, as Cinderella moves from the pain and longing of loneliness to the beaming euphoria of love to the pain and confusion of heartbreak. Given Ratmansky’s sparing use of mime, Jones full command of facial and physical expression makes the storytelling crystal clear. With strength, suppleness and good looks to spare, Ty King-Wall is a fine partner for Jones. In a characterisation that is not as multidimensional as it could be, King-Wall mainly focuses on the sweet, kind-hearted aspects of The Prince, losing the transition from vainglorious playboy to tender lover. There is an element of sexual tension missing when The Prince encounters exotic Temptors during his journey to find Cinderella. Nonetheless, King-Wall and Jones’ three big pas de deux each achieve their distinctive character and are danced with rapturous beauty.

Valerie Tereshchenko, Ingrid Gow and Eloise Fryer successfully bring out the full hilarity, vanity and inanity of the deluded, self-serving Stepfamily. Tereshchenko captures the aggressively determined drive of Stepmother, and effectively contrasts her alternating pride and embarrassment in her daughters. Gow and Fryer play up the highly competitive nature of the siblings to great effect. The featured group of The Prince’s friends is brought to greater prominence by the sterling combined work of Christopher Rodgers-Wilson, Jarryd Madden, Rudy Hawkes and Brett Simon.

Alexei Ratmansky’s Cinderella is bound to thrill newcomers and dance lovers of all ages. Alexei Ratmansky’s Cinderella plays at State Theatre, Arts Centre Melbourne until 27 June 2015.

In this Year of Beauty, Man in Chair has also reviewed:

Madeline Eastoe and Danielle Gaudiello in Cinderella: “The consummate actress, Eastoe’s incredibly integrated performance completely blurs the lines between acting and dance.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

Madeleine Eastoe and Kevin Jackson in Maina Gielgud’s Giselle: “Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire.”

Photos: #2,3,4,7: Jeff Busby; #1,5,6: Lynette Wills

Celebrating a unique mix of opera, dance, music theatre, plays, live music and more, the 2015 Helpmann Nominations were announced this evening at performing arts venues around Australia. The 2015 Helpmann Awards will be presented live in Sydney at the Capitol Theatre and broadcast live on Foxtel Arts, Monday 27 July 2015 at 7.30pm. Read on for all the nominations, plus a look at surprises, snubs and possible winners.

LPA Chief Executive Evelyn Richardson (above) introduced the annual awards.

Sue Nattrass (above) spoke passionately about the ongoing legacy of conductor Brian Stacey, and introduced this year’s winner of the Brian Stacey Award for Emerging Australian Conductors, Jessica Gethin (below).

Todd McKenney (below), who will host the Helpmann Awards ceremony, introduced the evening’s guests who were there to read the nominations.

Amy Lehpamer (below), presented with Colin Lane (below).

Queenie van de Zandt (below),presented with Joel Creasey.

Kate Miller-Heidke (below), presented with Ash Flanders.

Caroline O’Connor (below), presented with Wayne Scott Kermond.

A good number of last year’s nominated musicals, such as Strictly Ballroom, The Lion King, Rocky Horror Show, Sweet Charity and Grease, have continued to play into this year, so the field was always going to wide open for a clean sweep by Cameron Macintosh’s new production of Les Misérables.

Les Misérables earned a whopping 12 nominations, including Best Actor nominations that will see on-stage foes (but off-stage friends) Simon Gleeson and Hayden Tee go head to head.

Independent musicals have continued to thrive, but the Helpmann Awards are contingent of membership of Live Performance Australia, which is mainly held by the larger commercial production companies. The sole representative of small-scale musicals came with a nomination for Best Actress to Helen Dallimore for Blood Brothers.

In addition to Les Misérables, which would seem extremely likely to win Best Musical, other commercial productions nominated for Best Musical are Once, which closed after only presenting a Melbourne season, the newly opened Anything Goes and ongoing tour Dirty Dancing.

Once and Anything Goes both earned nine nominations apiece. With the relatively unique touch of an ensemble cast who played all the score, Once was a likely selection for Best Music Direction. Expected picks aboard the SS American included Caroline O’Connor for Best Actress (a likely winner), Andrew Hallsworth for Best Choreography.

Odd choices here included nominating Madeleine Jones as Girl for Once without her Guy, Tom Parsons. Anything Goes seemed to have the male categories backward, with Todd McKenney nominated for Best Actor for the supporting role of Evelyn while leading man Alex Rathgeber, as Billy Crocker, was nominated as Best Supporting Actor.

Another duo split up by the nominations were the Thénardiers, with Trevor Ashley on the board for Best Supporting Actor but no sign of his fabulous partner in crime Lara Mulcahy.

Dirty Dancing received no acting nominations, but was a worthy selection for Best Choreography.

Coming off a relatively weak year, The Production Company came away with only two nominations: Todd McKenney for Best Actor as Albin/Zaza in La Cage Aux Folles (but not his stage partner Simon Burke as Georges) and Eddie Muliamaseali’I for Best Supporting Actor as Joe in Show Boat. Guys and Dolls, directed by previous winner Gale Edwards and starring previous winner Verity Hunt-Ballard, was completely overlooked.

Lucy Maunder was rewarded with a Best Supporting nomination as Cinderella in Victorian Opera’s Into The Woods, while Queenie van de Zandt was overlooked as The Witch as was Christina O’Neill as The Baker’s Wife.

Opera Australia scored a decent number of acting nominations, with two each for Teddy Tahu Rhodes and Nicole Car. On the brink of stardom, Car is set to make her Covent Garden debut later this year. Sir David McVicar’s productions of Faust electrified Sydney this past summer, and earned nomination for Best Opera and performance nods for visiting US tenor Michael Fabiano as well as Rhode and Car. Hopefully this production will be seen in Melbourne next year.

Italian baritone Claudio Sgura was nominated as the malevolent Scarpia in the return of John Bell’s new Tosca, but his colleagues playing Tosca and Cavaradossi in Melbourne and Sydney seasons were overlooked.

McVicar’s new Don Giovanni scored nominations for Rhodes, in the title role, and Shane Lowrencev as manservant Leporello. Two of the three women romanced by the Don were nominated, Taryn Fiebig and Car, with guest soprano Elvira Fatykhova missing out.

The performance of lustrous soprano Latonia Moore (below, right) in the title role was the only aspect rewarded in Handa Opera on Sydney Harbour: Aida. Likewise, Warwick Fyfe was the only nomination for Victorian Opera’s cutting edge presentation of The Flying Dutchman.

MSO’s concert presentation of The Damnation of Faust was a worthy nominee for Best Symphony Orchestra Concert. The complete absence of new original Australian opera The Riders seems a most egregious oversight. Opera Australia’s sensational return of Don Carlos will most likely be entered next year, based on its Sydney run later this year.

The most highly nominated opera of the year was Brisbane Baroque’s Faramondo with an impressive haul of eight nominations.

Highly successful, extremely stable arts company The Australian Ballet was all but shut out, with only one nomination, Retiring prima ballerina Madeline Eastoe was nominated for Giselle, a role she will dance in her final performance in July in Adelaide.

INDUSTRY AWARDS

BEST COSTUME DESIGN

ANNA CORDINGLEY

Masquerade, Produced by Griffin Theatre Company and State Theatre Company of South Australia.
NSW: Presented by Sydney Festival and Sydney Opera House. SA: Presented in association with Adelaide Festival Centre and Windmill Theatre. VIC: Presented by Melbourne Festival. This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival, Melbourne Festival, State Theatre Company of South Australia and Griffin Theatre Company.

DALE FERGUSON

Anything Goes, Opera Australia and John Frost

GABRIELA TYLESOVA

The Rabbits, Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera. Co-commissioned by Perth International Arts Festival and Melbourne Festival.

GARY MCCANN

Faramondo, Brisbane Baroque in association with QPAC

BEST LIGHTING DESIGN

GEOFF COBHAM

The Philip Glass Trilogy, State Opera Company, South Australia

NICK SCHLIEPER

Macbeth, Sydney Theatre Company

PAULE CONSTABLE

Faust, Opera Australia

PAULE CONSTABLE

Les Misérables, Cameron Mackintosh Australia

RACHEL BURKE

Marlin, Produced by Arena Theatre Company, presented by Melbourne Theatre Company

BEST ORIGINAL SCORE

CAMERON GOODALL and QUENTIN GRANT

Little Bird, State Theatre Company of South Australia, in association with Adelaide Festival Centre

KATE MILLER-HEIDKE with IAIN GRANDAGE

The Rabbits, Opera Australia

MIKELANGELO and THE BLACKSEA GENTLEMEN

Masquerade, Produced by Griffin Theatre Company and State Theatre Company of South Australia

TIM ROGERS

What Rhymes with Cars and Girls, Melbourne Theatre Company

BEST MUSIC DIRECTION

ERIN HELYARD

Faramondo, Brisbane Baroque, in association with QPAC

MARTIN LOWE

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

TIM ROGERS

What Rhymes with Cars and Girls

Melbourne Theatre Company

TIMOTHY SEXTON

The Philip Glass Trilogy

State Opera South Australia

BEST SCENIC DESIGN

DAN POTRA

The Perfect American, Brisbane Festival and Opera Queensland, in association with Queensland Performing Arts Centre and Griffith University.

GEOFF COBHAM

Little Bird, State Theatre Company of South Australia, in association with Adelaide Festival Centre

MARG HORWELL

Marlin, Produced by Arena Theatre Company, presented by Melbourne Theatre Compan

MATT KINLEY

Les Misérables, Cameron Mackintosh Australia

BEST SOUND DESIGN

CLIVE GOODWIN

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

JD BRILL, CLAIR GLOBAL and EAGLES

Eagles | History of the Eagles Live In Concert 2015, The Eagles and Frontier Touring

MICHAEL WATERS

Anything Goes, Opera Australia and John Frost

MICK POTTER

Les Misérables, Cameron Mackintosh Australia

BEST NEW AUSTRALIAN WORK

AIDAN FENNESSY, MUSIC AND LYRICS BY TIM ROGERS

What Rhymes with Cars and Girls, Melbourne Theatre Company

ARENA THEATRE COMPANY

Marlin, Produced by Arena Theatre Company, presented by Melbourne Theatre Company

JOANNA MURRAY-SMITH

Switzerland, Sydney Theatre Company

NICKI BLOOM with songs and music by CAMERON GOODALL and QUENTIN GRANT

Little Bird, State Theatre Company of South Australia, in association with Adelaide Festival Centre

OPERA AUSTRALIA and BARKING GECKO THEATRE COMPANY, in association with WEST AUSTRALIAN OPERA, co-commission by PERTH INTERNATIONAL ARTS FESTIVAL and MELBOURNE FESTIVAL


The Rabbits, Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera, co- commission by Perth International Arts Festival and Melbourne Theatre

TAMARA SAULWICK

Endings, Sydney Festival and Insite Arts

CONTEMPORARY MUSIC

BEST AUSTRALIAN CONTEMPORARY CONCERT

CHET FAKER | NATIONAL TOUR 2015, Chet Faker, Frontier Touring, Artist Voice, Opulent, Future Classics and Perth International Arts Festival

JIMMY BARNES | 30:30 HINDSIGHT GREATEST HITS TOUR 2014, Jimmy Barnes and Frontier Touring, in association with Premier Artists and A Day on the Green

KYLIE | KISS ME ONCE TOUR 2015, Kylie Minogue and Frontier Touring

TINA ARENA RESET TOUR, Tina Arena and New World Artists

BEST CONTEMPORARY MUSIC FESTIVAL

BLUESFEST BYRON BAY, The 26th Annual Bluesfest Byron Bay 2015 and Peter Noble

LANEWAY FESTIVAL, Lunatic Entertainment and Chugg Entertainment

VIVID LIVE 2015, Destination NSW and Sydney Opera House

WOMADELAIDE 2015, Ian Scobie

BEST INTERNATIONAL CONTEMPORARY CONCERT

ED SHEERAN | X WORLD TOUR 2015, Ed Sheeran and Frontier Touring

FOO FIGHTERS | SONIC HIGHWAYS WORLD TOUR 2015, Foo Fighters and Frontier Touring

PAUL SIMON and STING – ON STAGE TOGETHER, Paul Simon, Sting and Live Nation

THE ROLLING STONES | 14 ON FIRE, The Rolling Stones, Frontier Touring, AEG Live and IEC Entertainment

OPERA AND CLASSICAL MUSIC

BEST DIRECTION OF AN OPERA

DAVID MCVICAR

Faust, Opera Australia

DAVID MCVICAR

Don Giovanni, Opera Australia

LEIGH WARREN

Philip Glass Trilogy, State Opera of South Australia

PAUL CURRAN

Faramondo, Brisbane Baroque, in association with QPAC

BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

ANNA DEVIN

Faramondo

Brisbane Baroque, in association with QPAC

ANNA STARUSHKEVYCH

Faramondo, Brisbane Baroque, in association with QPAC

NICOLE CAR

Don Giovanni, Opera Australia

TARYN FIEBIG

Don Giovanni, Opera Australia

BEST FEMALE PERFORMER IN AN OPERA

CAITLIN HULCUP

Iphigenie en Tauride, Pinchgut Opera

JENNIFER RIVERA

Faramondo, Brisbane Baroque, in association with QPAC

LATONIA MOORE

Aida – Handa Opera on Sydney Harbour, Opera Australia

NICOLE CAR

Faust, Opera Australia

BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

CHRISTOPHER LOWREY

Faramondo, Brisbane Baroque, in association with QPAC

SHANE LOWRENCEV

Don Giovanni, Opera Australia

TEDDY TAHU RHODES

Faust, Opera Australia

WARWICK FYFE

The Flying Dutchman, Victorian Opera

BEST MALE PERFORMER IN AN OPERA

ADAM DIEGEL

Madama Butterfly, English National Opera, Metropolitan Opera and Lithuanian National Opera, in association with West Australian Opera and Perth International Arts Festival

CHRISTOPHER PURVES

The Perfect American, Brisbane Festival and Opera Queensland, in association with QPAC and Griffith University

CLAUDIO SGURA

Tosca, Opera Australia

MICHAEL FABIANO

Faust, Opera Australia

TEDDY TAHU RHODES

Don Giovanni, Opera Australia

BEST OPERA

FARAMONDO, Brisbane Baroque, in association with QPAC

FAUST, Opera Australia

MADAMA BUTTERFLY, English National Opera, Metropolitan Opera and Lithuanian National Opera in association with West Australian Opera and Perth International Arts Festival

THE PHILIP GLASS TRILOGY, State Opera South Australia

BEST CHAMBER AND INSTRUMENTAL ENSEMBLE CONCERT

GOLDNER STRING QUARTET, MUSICA VIVA INTERNATIONAL CONCERT SERIES NATIONAL TOUR 2015,
Goldner String Quartet for Musica Viva Australia

LES ARTS FLORISSANTS and LE JARDIN DES VOIX IN Â JARDIN Ã L’ITALIENNE, Melbourne Recital Centre, Sydney Opera House and Perth International Arts Festival

THE SIXTEEN, Melbourne Recital Centre, Sydney Opera House, Perth International Arts Festival, Queensland Performing Arts Centre and Australian National University of Music, Llewellyn Hall

STEPHEN HOUGH IN RECITAL, Sydney Symphony Orchestra

BEST SYMPHONY ORCHESTRA CONCERT

THE DAMNATION OF FAUST, Melbourne Symphony Orchestra

MAHLER 3, Melbourne Symphony Orchestra

REFLECTIONS ON GALLIPOLI, Australian Chamber Orchestra

TAFELMUSIK’S HOUSE OF DREAMS, Musica Viva

BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE

ASHER FISCH

Beethoven Festival, West Australian Symphony Orchestra

CHRISTIAN TETZLAFF

Christian Tetlaff, Melbourne Recital Centre

EMANUEL AX

The Beethoven Piano Concertos, Sydney Symphony Orchestra

WILLIAM CHRISTIE

William Christie, Melbourne Recital Centre, Sydney Opera House, and Perth International Arts Festival

COMEDY


BEST COMEDY PERFORMER

JUDITH LUCY

Judith Lucy – Ask No Questions of the Moth, Token Events

MATT OKINE

The Other Guy ,Century Entertainment

NAZEEM HUSSAIN

Nazeem Hussain – Legally Brown, Live Nation

RONNY CHIENG

You Don’t Know What You’re Talking About, Century Entertainment

SAM SIMMONS

Sam Simmons – Spaghetti for Breakfast, Token Events

CABARET

BEST CABARET PERFORMER

BECCY COLE and LIBBY O’DONOVAN

The Cowgirl and the Showgirl, Adelaide Festival Centre Trust

CAMILLE O’SULLIVAN

Camille O’Sullivan – Changeling, Arts Centre Melbourne

DAVID CAMPBELL and JOHN BUCCHINO

David Campbell Sings John Bucchino, Luckiest Productions

KIM SMITH

Nova Noir, Adelaide Festival Centre Trust

DANCE AND PHYSICAL THEATRE

BEST BALLET OR DANCE WORK

FRAME OF MIND, Sydney Dance Company

MEETING, Antony Hamilton and Alisdair Macindoe

MOTION PICTURE, Lucy Guerin Inc

PRECIPICE, Rachel Arianne Ogle

BEST CHOREOGRAPHY IN A DANCE OR PHYSICAL THEATRE PRODUCTION

ANTONY HAMILTON

MEETING, Antony Hamilton Projects, Arts House and Insite Arts

NATALIE WEIR

Natalie Weir’s The Red Shoes, Expressions Dance Company and Queensland Performing Arts Centre

RAFAEL BONACHELA

Frame of Mind, Sydney Dance Company

STEPHEN PAGE

Patyegarang, Bangarra Dance Theatre

BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION

CHLOE LEONG

William Forsythe’s Quintett, Sydney Dance Company

ELISE MAY

Natalie Weir’s The Red Shoes, Expressions Dance Company and Queensland Performing Arts Centre

JESSE SCALES

William Forsythe’s Quintett, Sydney Dance Company

MADELEINE EASTOE

Giselle, The Australian Ballet

BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION

ALISDAIR MACINDOE

Motion Picture, Lucy Guerin Inc

CASS MORTIMER EIPPER

William Forsythe’s Quintett, Sydney Dance Company

DAVID MACK

William Forsythe’s Quintett, Sydney Dance Company

JACK ZIESING

Natalie Weir’s The Red Shoes, Expressions Dance Company and Queensland Performing Arts Centre

BEST VISUAL AND PHYSICAL THEATRE PRODUCTION

BEYOND THE CIRCA, Arts Centre Melbourne and Circa

DISLOCATE’S “IF THESE WALLS COULD TALK”, Marguerite Pepper Productions

THE PAPER ARCHITECT, Davy and Kristin McGuire and Perth International Arts Festival

TABAC ROUGE, Produced by Compagnie du Hanneton, presented by Sydney Festival

REGIONAL TOURING PRODUCTIONS

BEST REGIONAL TOURING PRODUCTION

FESTIVAL OF CIRCA, Circa

FOOD, Force Majeure and Belvoir

KELLY, Queensland Theatre Company

SONS & MOTHERS, Performing Lines and No Strings Attached Theatre of Disability

CHILDRENS PRESENTATIONS

BEST PRESENTATION FOR CHILDREN

CARNIVAL OF THE ANIMALS, Circa and Queensland Performing Arts Centre

HANS CHRISTIAN, YOU MUST BE AN ANGEL, Sydney Opera House and Arts Centre Melbourne

PETE THE SHEEP, Monkey Baa Theatre Company

THE RABBITS, Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera, co- commissioned by Perth International Arts Festival and Melbourne Festival

THEATRE


BEST DIRECTION OF A PLAY

ANDREW UPTON

Endgame, Sydney Theatre Company

CLARE WATSON

What Rhymes with Cars and Girls, Melbourne Theatre Company

KIP WILLIAMS

Suddenly Last Summer, Sydney Theatre Company

SARAH GOODES

Switzerland, Sydney Theatre Company

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY

HELEN THOMSON

After Dinner, Sydney Theatre Company

JULIE FORSYTH

Endgame, Melbourne Theatre Company

PAMELA RABE

Beckett Triptych – Footfalls, State Theatre Company of South Australia, in association with Adelaide Festival

SARAH PEIRSE

Endgame, Sydney Theatre Company

BEST FEMALE ACTOR IN A PLAY

JULIE FORSYTH

Night on Bald Mountain, Malthouse Theatre

PAMELA RABE

The Glass Menagerie, Belvoir

ROBYN NEVIN

Suddenly Last Summer, Sydney Theatre Company

SARAH PEIRSE

Switzerland, Sydney Theatre Company

BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY

BRUCE SPENCE

Endgame, Sydney Theatre Company

GLENN HAZELDINE

After Dinner, Sydney Theatre Company

JOHN BELL

As You Like It, Bell Shakespeare

LASARUS RATUERE

Kill the Messenger, Belvoir

BEST MALE ACTOR IN A PLAY

HUGO WEAVING

Endgame, Sydney Theatre Company

HUNTER PAGE-LOCHARD

Brothers Wreck, Belvoir

PETER CARROLL

Oedipus Rex, Belvoir

STEVE RODGERS

Eight Gigabytes of Hardcore Porn, Griffin Theatre Company and Perth Theatre Company

BEST PLAY

CALPURNIA DESCENDING, Malthouse Theatre and Sydney Theatre Company

ENDGAME, Sydney Theatre Company

THE GLASS MENAGERIE, Belvoir

SUDDENLY LAST SUMMER, Sydney Theatre Company

MUSICALS


BEST CHOREOGRAPHY IN A MUSICAL

ANDREW HALLSWORTH

Anything Goes, Opera Australia and John Frost

KATE CHAMPION and MICHELLE LYNCH

Dirty Dancing – The Classic Love Story on Stage, John Frost

MICHAEL ASHCROFT and GEOFFREY GARRATT

Les Misérables, Cameron Mackintosh Australia

STEVEN HOGGETT

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

BEST DIRECTION OF A MUSICAL

DEAN BRYANT

Anything Goes, Opera Australia and John Frost

JOHN TIFFANY

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

LAURENCE CONNOR and JAMES POWELL

Les Misérables, Cameron Mackintosh Australia

STUART MAUNDER AM

Into the Woods, Victorian Opera

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

AMY LEHPAMER

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

CLAIRE LYON

Anything Goes, Opera Australia and John Frost

KERRIE ANNE GREENLAND

Les Misérables, Cameron Mackintosh Australia

LUCY MAUNDER

Into the Woods, Victorian Opera

BEST FEMALE ACTOR IN A MUSICAL

CAROLINE O’CONNOR

Anything Goes, Opera Australia and John Frost

HELEN DALLIMORE

Blood Brothers, Enda Markey Presents

MADELEINE JONES

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

PATRICE TIPOKI

Les Misérables, Cameron Mackintosh Australia

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

ALEX RATHGEBER

Anything Goes, Opera Australia and John Frost

BRENT HALL

Once, John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo

CHRIS DURLING

Les Misérables, Cameron Mackintosh Australia

COLIN DEAN

Once, John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo

EDDIE MULIAUMASEALI’I

Show Boat, The Production Company

TREVOR ASHLEY

Les Misérables, Cameron Mackintosh Australia

BEST MALE ACTOR IN A MUSICAL

HAYDEN TEE

Les Misérables, Cameron Mackintosh Australia

SIMON GLEESON

Les Misérables. Cameron Mackintosh Australia

TODD MCKENNEY

Anything Goes, Opera Australia and John Frost

TODD MCKENNEY

La Cage Aux Folles, The Production Company

BEST MUSICAL

ANYTHING GOES Opera Australia and John Frost

DIRTY DANCING – THE CLASSIC LOVE STORY ON STAGE, John Frost, Karl Sydow, Martin McCullum and Joyce Entertainment

LES MISÉRABLES Cameron Mackintosh

ONCE John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

2015 HELPMANN AWARDS BESTOWED AWARD

BEST SPECIAL EVENT


PERTH INTERNATIONAL ARTS FESTIVAL IN ASSOCIATION WITH ROYAL DE LUXE, The Incredible and Phenomenal Journey of the Giants to the Streets of Perth

LIFETIME ACHIEVEMENT AWARDS

SUE NATTRASS AWARD^TM:

ERIC ROBINSON

JC WILLIAMSON AWARD®:

PAUL KELLY

THE BRIAN STACEY AWARD 2015 (for emerging Australian Conductors):

JESSICA GETHIN

Photos: #1-10 Simon Parris; #11 Kurt Sneddon, #12, #13, #16 Jeff Busby, #14 Lisa Tomasetti; #15 Prudence Upton

A second opportunity arose to see Alexei Ratmansky’s Cinderella, a visit made all the sweeter by the surprise appearance of Madeleine Eastoe in the title role.

Nominated for a Helpmann Award this week for Giselle, Eastoe shows no sign of her impending retirement as she performs with boundless energy and exquisite agility. The consummate actress, Eastoe’s incredibly integrated performance completely blurs the lines between acting and dance. Her storytelling skills are so refined that the action just appears to be unfolding spontaneously.

Eastoe’s Cinderella is a modest, kindhearted pacifist who cannot bear to see her stepsisters fight and who beams even while doing household chores. Arriving at the ball, Cinderella looks around in awe, humbled to be in such regal, glamorous company.

When Cinderella first dances with Prince, Eastoe begins by conveying Cinderella’s disbelief that he would even look her way, let alone dance with her. After a brief panic about the time, Cinderella relaxes in the knowledge that midnight is a good way off and starts to enjoy herself, relaxing more and more in the Prince’s arms. Initially terribly shy when the Prince suggests she show the guests a dance step or two, she warms into it, soon beaming with delight.

After such shared joy, the crushing disappointment of her loss after midnight is particularly affecting.

Daniel Gaudiello, who danced The Prince in the 2013 premiere, retains a wondrous vitality in the role. Gaudiello makes a supremely confident entrance, certainly looking (as mentioned in the program notes) as though he just stepped out of a Ferrari. Gaudiello’s arrogant Prince looks at the women of court with boredom, even disdain. He can’t get away from the tiresome Stepfamily fast enough.

Initially struck by Cinderella as a fresh beauty, he is clearly won over by her grace and modesty to develop genuine feelings. Gaudiello changes The Prince’s entire body language, leaping ever higher as the character is reinvigorated by the prospect a tantalising love. Dancing an ever-widening circle of jetés, he spreads out the crowd to make room for the future Princess.

Eastoe and Gaudiello’s portrayal of the development of love is so much more powerful than the simplistic cliché of love at first sight. The pair conveys their absolute wonder at finding each other again at the finale, performing the final pas de deux as a dreamlike fantasia of joyous love.

The magnetic Gaudiello is also compelling to watch as The Prince searches the globe for his lost love.

Willowy beauty Amanda McGuigan plays Cinderella’s Stepmother as an imperious but not overly nasty parent.

Natasha Kusen plays Skinny Stepsister as a haughty, vain creature. The competitive Skinny is seen as the one who begins the bickering with her sister. Skinny appears loath to dance a few solo steps at the ball, but manages to strut out a few steps.

Jill Ogai portrays Dumpy Stepsister as a cheeky giggling airhead who is overly excited about attending the ball. Dumpy enjoys her solo dance at the ball, remembering the steps she has been taught in her own muddle-headed way. In act three, Ogai has another nice moment, as Dumpy is sweet to Cinderella before reverting to form when Skinny enters the room.

Kusen and Ogai are particularly confident and comfortable with Ratmansky’s choreography, performing with precision but with a relaxed pleasure that is even more of a joy to watch. There is an overall feeling that the entire company, upon revisiting the piece so soon after its premiere, inhabits the magical piece with a true sense of enjoyment, allowing their flair and artistry to be seen in the best possible light.

Alexei Ratmansky’s Cinderella plays at State Theatre, Arts Centre Melbourne until 27 June 2015.

In this Year of Beauty, Man in Chair has also reviewed:

Lana Jones and Ty King-Wall in Cinderella: “In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

Madeleine Eastoe and Kevin Jackson in Maina Gielgud’s Giselle: “Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire.”

Photos: #1-#4 Jeff Busby; #5 Lynette Wills (note: photo #3 shows Eastoe with Kevin Jackson; photos #4 and #5 are from 2013)

The Australian Ballet traverses from the twentieth to twenty-first century in this scintillating freestyle triple bill that anchors a company premiere and a world premiere with a treasured classic.

If 20:21 is a barometer of the company’s current state of health, it passes with flying colours. Dancers of all ranks perform side by side to create a thrilling whole that is greater than any solos or pas de deux. The group is the star, and yet individual personalities shine through as the dancers beam with the sheer enjoyment of dancing together.

Dance in its purest state is celebrated in the program. In an homage to the impact, grace and beauty of choreography, each piece is unencumbered by narrative, scenic design and decorative costumes.

The evening begins with the Australian Ballet debut of George Balanchine’s 1972 ballet Symphony in Three Movements.

Balanchine’s choreography provides a rhythmic pulse to the light, gently abstract music of Stravinsky. The ballet may be free of narrative and yet the movement is highly purposeful, with precise, varied, repeated movement creating a bustling mechanical picture.

The requirement of a large company provides the opportunity for some 32 company members to work together on almost equal footing. Partner work is significant and also unusual, in that it largely involves male and female dancers side by side rather than touching, creating an air of camaraderie.

Ronald Bates’ lighting, reproduced by Graham Silver, backs the dancers with an azure blue sky, creating a sunny, optimistic vibe. The carefree tone is enhanced by simple, streamlined leotards, and the female dancers’ long ponytails fly freely. Featured female dancers complete the bright, upbeat stage picture in shades of gelato pinks.

Resident choreographer Tim Harbour’s new work Filigree and Shadow makes its world premiere in 20:21. An edgy, sexually charged piece, Filigree and Shadow is clearly placed in the realm of modern dance and yet draws on a distinctly classical balletic vocabulary of movement.

Dressed in masculine steely grey singlets and sheer black stockings, there is an androgynous look to the dozen dancers in the piece. The sheer white curved wall of Kelvin Ho’s scenic design picks up the highly dramatic effects of Benjamin Cisterne’s lighting. Beginning from an inky blackout, and at one point bathing the stage in a golden glow, the lighting is a significant and affecting aspect of the design.

The prerecorded music, commissioned from Munich-based electronic musicians 48nord (Ulrich Müller and Siegfried Rössert), achieves an electric crackle and pop that could not have been achieved by orchestral musicians.

Highlights include a sensational male trio from Brett Chynoweth, Simon Plant and Marcus Morelli (whose manbun distinctly places the performance in 2015). The trio features particularly enthralling work from Chynoweth. Rudy Hawkes, who makes the herculean effort of appearing in all three works in the program, emerges as a leader in Filigree and Shadow.

Working in various combinations, the dancers genuinely engage with each other as they performer Harbour’s highly physicalised choreography. The music and dance build to a frenzied climax that leaves nowhere for the dancers to go except to collapse, fully spent, on the floor.

The final treat in this carefully curated program is revered American choreographer Twyla Tharp’s modern classic In the Upper Room.

The success of this piece is inseparable from Phillip Glass’ driving, pulsing score, which blends and layers sweet-sounding acoustic and electronic instruments with ever increasing urgency and excitement.

Black and white striped pajamas give way to bright red dancewear and then to bare glistening skin as the extraordinarily demanding piece progresses.

Tharp’s choreography is distinguished by a dazzling array of styles, deliberately blurring the lines of what is usually seen on the ballet stage. As well as intense and precise requirements, there are plenty of gentler moments that convey a delightfully jaunty air.

The work is performed in a thick blanket of misty haze. On opening night, the magical disappearances and appearances through rear black panels seemed a little hesitant, but will surely improve as the performers’ spatial awareness in the darkness improves with further confidence.

Another spectacular male trio graces In The Upper Room as Rudy Hawkes, Andrew Killian and Jarryd Madden rock Tharp’s lively, fleet footed moves. As with the entire evening, it is difficult to single out many highlights due to the wonderfully integrated nature of the company work on display.

The return of In The Upper Room earned roars of approval and an all too rare standing ovation on opening night.

20:21 plays at State Theatre, Arts Centre Melbourne until 5 September 2015 before playing in Sydney 5 November to 21 November 2015.

In this Year of Beauty, Man in Chair has also reviewed:

Madeleine Eastoe and Kevin Jackson in Cinderella: “…performing the final pas de deux as a dreamlike fantasia of joyous love.”

Lana Jones and Ty King-Wall in Cinderella: “In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

Madeleine Eastoe and Kevin Jackson in Maina Gielgud’s Giselle: “Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire.”

Photos: Jeff Busby

Lavish production values and wonderful dance combine for a world class, highly traditional new staging of evergreen classic The Sleeping Beauty.

Created and promoted over an extended period, the highly anticipated production has been lovingly and meticulously staged by The Australian Ballet’s Artistic Director, David McAllister. McAllister’s approach is reverentially traditional, but any lack of daring is more than made up for in sheer quality and beauty. Every dollar of the generous budget can be seen on stage, with exquisite details in abundance. Streamlined by the excision of select moments of dance, the spellbinding action keeps the audience completely entranced for the 170 minute running time (including two intervals).

Beginning with a prologue to the Prologue, McAllister’s storytelling is detailed and crystal clear. Master of Ceremonies Catalabutte dithers over sending christening invitations, and ultimately regrets striking Carabosse from the guest list. This first prologue runs a trifle long, squandering some of the grand entrance music on Catalabutte’s indecision. All subsequent music, however, is perfectly matched to its original purpose in the ballet.

Further clarity of direction is seen in the work of the lead characters. Melancholy Prince Désiré’s attachment to his book of fairytales explains not only his susceptibility to the prospect of waking a sleeping princess, but also provides the reason why his friends dress as fairytale characters at his wedding ball. Aurora is seen with a beaming countenance at her sixteenth birthday festivities, but when dancing as a vision to the Prince, her vision is downcast, deliberately engaging neither her fellow dancers nor the audience. When she awakens, it is clear that Aurora sees the Prince for the first time, and it is love at first sight for them both.

As well as ample solo and pas de deux work, McAllister has included wonderful dances for the corps de ballet, often filling the stage with gloriously festive dance. The garland dance climaxes with the garlands positioned as a merry maypole, with couples waltzing beneath the arches to the gorgeous melody of “The Garland Waltz.” Woodland Nymphs dance with delicate precision in act two. Act three brings a cavalcade of glorious dance, from full company glamour to exquisite solos and pas de deux. The divertissements for the fairytale characters are cut, except for those by beloved characters Bluebird and Princess Florine, bringing their work into even sharper focus.

As well as the interpretation and direction of McAllister, a chief attraction of this world premiere staging is the creative design of renowned designer Gabriela Tylesova.

In a miraculous foray into ballet costumes, Tylesova provides delightful tutus that fluff out beautifully when expanding horizontally as the dancers spin. Tylesova fashions wittily adapted balletic versions of traditional stage costumes for scenes such as the hunting party and the Louis XIV-themed masked ball for Aurora’s wedding. Of the featured characters, The Queen is blessed with particularly spectacular ensembles; her combination of blue gown and powdered wig for Aurora’s birthday is a highlight.

With a budget reaching beyond mere painted backdrops, Tylesova frames the action with a series of sturdily constructed baroque legs, which are abstract ivory swirls decorated with gold leaf. This setting appears at its very best in the grand ball of act three, with the addition of matching gold and ivory costumes, glistening chandeliers and a stunning painted mural in the rear.

For the prologue, the setting is enhanced, if a little crowded, with burgundy floral brocade curtains. Similarly, in act one the lush green foliage of the palace grounds is seen. The six fairies arrive at the christening from heavenly rear clouds, each projecting their personality in exquisitely detailed, rich pastel costumes and matching gossamer wigs. Costumes are carefully matched to the scenic colour palette of each act, with splashes of contrasting colours used for effect.

Jon Buswell’s lighting design largely serves to provide plenty of bright clear light, presenting the designs and the dancers at their best. A particularly attractive moment comes as the Prince ventures into the sleeping palace and the scene is bathed in a luscious purple haze of twilight.

Maestro Nicolette Fraillon leads Orchestra Victoria in a finely nuanced performance of Tchaikovsky’s most lyrical of scores. Featured use of harp is lovely aspect of the music.

As the titular Princess, Lana Jones is a pristine Aurora, her dancing especially nimble, sleek and poised. Jones captures the effervescent excitement of being sweet sixteen, making the impending loss of the Princess harder to take. Her balance in the challenging “Rose Adagio” sequence is well controlled.

Not seen until act two, Prince Désiré makes a very casual entrance as he wanders on with his fairytale book. Capping off a truly stellar year, Kevin Jackson is in excellent form, continuing to present a unique balance of sensitivity and masculinity. As talented an actor as he is a dancer, Jackson gives the Prince a clear character arc in act two, progressing from gloomy bookworm to jubilant potential lover.

Jackson and Jones share regal chemistry, and each of their pas de deux, from slow and measured to brisk and lively, are expertly performed.

Amber Scott imbues The Lilac Fairy with palpable goodness, radiating kindness and joy as she dances with seemingly effortless lightness.

The coterie of Fairies dance charmingly as a group, with each member also displaying individuality in their role: Amy Harris, Natasha Kusen, Robyn Hendricks, Benedict Bemet, Miwako Kubota.

In act three’s grand ball, Chengwu Guo and Ako Kondo provide truly thrilling dancing as Bluebird and Princess Florine. The pair may fall a whisker short of stealing the show, but they certainly stop the show with the rapturous applause they deservedly earn.

Proving herself to still be a very strong dancer, guest artist Lynette Wills conveys the haughty arrogance of the diabolical Carabosse, matching the villainess’ facial expression to that of her rodent servants.

The Sleeping Beauty plays at State Theatre, Arts Centre Melbourne until 26 September 2015, before playing in Perth 7-10 October 2015 and Sydney 27 November – 16 December 2015.

In this Year of Beauty, Man in Chair has also reviewed:

A wide range of company members in modern mixed bill 20:21: “If 20:21 is a barometer of the company’s current state of health, it passes with flying colours.”

Madeleine Eastoe and Kevin Jackson in Cinderella: “…performing the final pas de deux as a dreamlike fantasia of joyous love.”

Lana Jones and Ty King-Wall in Cinderella: “In splendid form, Jones gives a superbly realised performance, making the massive role seem deceptively effortless and fully engaging the hearts of the audience.”

Madeleine Eastoe and Kevin Jackson in The Dream: “Chengwu Guo leaps about with such dynamic energy it almost looks like he is a magical effect that has been added using cinematic CGI.”

Madeleine Eastoe and Kevin Jackson in Maina Gielgud’s Giselle: “Lovingly restored to full glory, Maina Gielgud’s 1986 production of Giselle returns to its place as one of the most treasured jewels in The Australian Ballet’s repertoire.”

Photos: Kate Longley, Jeff Busby