THE AUSTRALIAN BALLET IN SUMMERTIME AT THE BALLET

 AUSTRALIAN BALLET SUMMERTIME AT THE BALLET

FEBRUARY/MARCH 2021

Ballet is back!

Hotly anticipated , new artistic director David Hallberg devised a wonderful programme to present the Ballet in its first performances for over a year in a programme of works by seven choreographers , four of whom are Australian.

The Orchestra Victoria as conducted most energetically and enthusiastically by Nicollete Frailon was in splendid form .The Orchestra , more visible than usual was at the back of the performance area on a raised stage , above the dancers .

For the online screening Hallberg introduced the works before the show officially began.

The staging was very simple , no set or curtains , but with marvellous atmospheric lighting by John Buswell

The performance opened with a bang – the Orchestra playing a galloping , stormy and dynamic Les Chassaesress from Delibes ‘ Sylvia and featuring the horn section.

Then came a famous major test piece for female corps de ballet members , Petipa’s the Kingdom of the Shades scene from La Bayadere , a shining example of pure classical ballet , twenty four dancers in white tutus . It was beautiful and dreamlike , the corps extremely well drilled and breathing and pulsating as one in an exquisite line , seeming to float while the music ripples and cascades.For this the dancers stepped directly onto the stage rather than the ‘ traditional ‘ ramp. There was a lilting pas de trois and then Ty King-Wall as Solor was spectacular with huge leaps that engulfed the stage . There was a delicate ,supportive pas de deux with elusive Nikia .The corps de ballet reappear and Solor and Nikia have a very challenging and demanding pas de deux with difficult lifts.

In great contrast was Tim Harbour’s very ‘contemporary ‘spiky Trio from Filigree and Shadow . The lighting was dark but there was a circle of light onstage .The dancers wore simple grey costumes of tights and top.To the popping , crackling music sculptural poses were blended with angular arms ,slip , slip slide on the stage and runs .

Then came Stephen Bayne’s yearning , tender and entwining romantic pas de deux from Molto Vivace with music by Handel ,performed by Adam Bull and Amber Scott which included some difficult lifts.Bull was in a blue unitard , Scott in a white dress .

As a showpiece for the men of the company next we saw some excerpts from Lucas Jervies version of Spartacus - in particular featuring the athletic exciting muscular display of the men training as gladiators .This is followed by a slithery, yearning ,rippling sculptural solo for Jake Mangakahia as Spartacus with flying leaps that was followed by the very demanding passionate pas de deux for Spartacus and Flavia , Imogen Chapman as a haunting ,delicate dream.

To bring Act 1 to a close with a flourish it was back to traditional classical ballet with the Nureyev version of the Bridesmaids Dance and the show stopper Act III Pas de deux from Don Quixote. The bridesmaids were sweet and flirtatious .The pas de deux was given a glowing , blistering performance by Ako Kondo and Chengwu Guo .Both dancers were in white and gold .At one point

in the pas de deux there was a supported arabesque for Kitri similar to the Rose Adagio from Sleeping Beauty and breathtaking drops and catches into a ‘fish dive’ . Kondo was poised ,confident , accomplished and seductive . Chengwu Guo as Basilio was sensational too, with flying leaps at first diagonally across the stage then others that devoured the stage space. Kondo’s fouettes and Guo’s grande tours a seconde breathlessly took us to interval .

The audience absolutely loved it . After interval we returned for Act 2 which shot off to a cracking start with a sizzling start with an extremely brisk overture to Lehar’s The Merry Widow, which was followed by the delicious , frothy waltz with its swirling patterns of choreography. Amber Scott as Hannah was seductive and elegant , Sharni Spencer as Valencienne sweet and charming Christopher Rodgers-Wilson was a debonair Camille.

In the dynamic, challenging Tchaikovsky Pas de Deux choreographed by Balanchine , Robyn Hendricks was amazing , creamy faultless technique and it was as if she was floating.Callum Linnane let rip with very spring jumps and turns and flying cabrioles and an impressive series of grande tours a la seconde.

The extremely demanding Clay (excerpt from Logos) by Alice Topp was next, performed by Karen Nanasca and Nathan Brook.It was stark ,yet tender and intimate , very acrobatic , at times sculpturally entwining, and also included lots of slithery floorwork, Both dancers were barefoot ,Nanasca wearing a simple flowing shift while Brook was topless in black leggings .

Back to ‘traditional’ classical ballet for the last piece Theme and Variations danced by Benedicte Bemet and Brett Chynoweth in a frostily polished, elegant and accomplished performance.Bemet had steely pointes and both dancers showed impeccable , precise timing and placement . The work ends with a great flourish and tableaux for the corps de ballet, terrifically danced , with magnificent technical flourishes to showcase the men ,but sorry I did not like the costumes .

Running time 2 hours 40 minutes

The Australian Ballet in Summertime at the Ballet was performed at the Margaret Court Arena Melbourne 26-28 February and online 28 February 2021

4&1/2 stars https://australianballet.com.au/the-ballets/summertime-at-the-ballet