Romeo and Juliet, Queensland Ballet

Queensland Performing Arts Centre, Brisbane, August 28.

When Queensland Ballet staged Kenneth MacMillan’s Romeo and Juliet in 2014 the then-small company took a huge risk, although one mitigated by bringing in superstars Carlos Acosta, Tamara Rojo and Steven McRae to partner QB principal artists. The gamble paid off. The season was a record-breaking success and, more importantly, the company looked terrific from top to bottom, right down to the extras and students needed to animate MacMillan’s sprawling canvas and Prokofiev’s richly coloured score.

QB Romeo and Juliet

Joel Woellner, Steven Heathcote, Vito Bernasconi and Queensland Ballet artists in Kenneth MacMillan’s Romeo and Juliet. Photo: David Kelly

This time around there were no visiting luminaries and, on opening night, a risk of a different kind. Playing the doomed young lovers were dancers plucked from the lower end of QB’s ranks, 24-year-old soloist Mia Heathcote and company artist Patricio Revé, 21. (Both were promoted onstage at the end of the performance.)

Revé, who joined the company only last year, has the marvellous combination of dash and silkiness that seems to be the birthright of male Cuban dancers. Heathcote is a luminous beauty whose dancing has gorgeous breadth and fullness. They looked wonderful together but needed to find a greater sense of rapture and abandon in the ravishing series of pas de deux around which MacMillan built the ballet. Romeo and Juliet have a truly dangerous relationship and it felt too careful.

QB Romeo and Juliet

Mia Heathcote and Patricio Revé in Romeo and Juliet. Photo: David Kelly

The production around them pulsated with life and in the pit the Queensland Symphony Orchestra played a blinder with its music director Alondra de la Parra at the helm. Bravi to the brass in particular. It was piquant casting to have former Australian Ballet principal artist Steven Heathcote – Mia’s father – as Lord Capulet. He’s lost none of his stage presence. Nor has former QB principal Rachael Walsh mislaid hers. She reprised her searing Lady Capulet, shedding any vestige of propriety as she keened over the body of her dead kinsman Tybalt, again given glowering charisma by Vito Bernasconi. Kohei Iwamoto was a charming, slightly underpowered Mercutio and Joel Woellner as good as it’s possible to be in the thankless role of Paris.

Romeo and Juliet (1965) was MacMillan’s first three-act ballet but he seemed to know instinctively how to fill a stage excitingly and make a world. Everywhere you look there are people fighting, dancing, plotting, chatting and flirting. The big set-piece scenes of quarrelling clans in the marketplace and the Capulets’ lavish ball are as good as it gets in narrative ballet. And then there are the smaller moments that underscore the tragedy to come – Juliet playing with her nurse and her doll; Juliet and Romeo coming face to face in the ballroom and time standing still. This is where Heathcote and Revé were most affecting.

Heathcote has been one to watch from her earliest days with QB. She has always thrown herself heart and soul into her dancing and often looked passionate but slightly unruly. In some ways her first Juliet showed something of the reverse: the dancing was splendid but the emotions more reined in. The right balance will surely come as Heathcote takes on other challenging roles in big ballets. She is absolutely a star in the making.

A version of this review first appeared in The Australian on August 30.

Carmen & The Firebird, Queensland Ballet

Queensland Performing Arts Centre, May 26.

You win some and you lose some.

Queensland Ballet is a co-producer of Carlos Acosta’s Carmen with The Royal Ballet and Texas Ballet Theater, which means QB’s name is attached to it forever. I doubt I’ve seen a worse ballet from reputable companies in more than 40 years.

I’m not exaggerating, nor do I say it frivolously. Carmen should never have passed muster at the RB. This is where I should say I can’t understand how it happened, but unfortunately it’s all too common to see serious ballet companies fail to save choreographers from themselves. Mostly the results aren’t quite as bad as Carmen but ballet is littered with the corpses of narrative works whose condition didn’t have to be terminal.

On a brighter note for QB, Liam Scarlett’s Firebird, made for Norwegian National Ballet in 2013, is a brilliant interpretation of Stravinsky’s glittering, gleaming, intoxicating score. Scarlett’s A Midsummer Night’s Dream is also in the QB repertory and with the addition of Firebird the company has the choreographer’s two most successful new narrative ballets. (I don’t include Scarlett’s staging of Swan Lake – by all reports a huge success – for the RB this month given its firm foundation in the Petipa-Ivanov 1895 version.)

QB The Firebird 2018. Principal Artist Lucy Green. Photo David Kelly

Lucy Green in the title role of Liam Scarlett’s The Firebird. Photo: David Kelly

Scarlett, who is 32, has a youthful, contemporary sensibility that gives Firebird a modern edge while remaining true to the mythic elements of Mikhail Fokine’s original 1910 work for the Ballets Russes.

It looks wonderful, with a monumental set by Jon Bausor, bathed in James Farncombe’s painterly light. In the shadow of a vast tree with claw-like roots, the magical Firebird (Lucy Green at the performance I attended) and wicked sorcerer Koschei (Jack Lister) battle for supremacy, equal in force of will and with a palpable erotic charge between them. She tempts him with a golden apple and strokes his face; he embraces her with ardour. It may well be a game they’ve played for aeons. Then the wandering Prince Ivan (Camilo Ramos) finds his way into their realm and the Firebird finds him interesting. She dances with him, but not as a frightened captive. She dazzles and teases, whispering in his ear as she lets him have one of her precious feathers.

Scarlett effectively contrasts the Firebird’s strength and exoticism with the innocence and playfulness of the young women enslaved by Koschei. Among them is a Princess (Lina Kim), who is tender, curious and alert. Kim and Ramos glowed in their romantic, silken pas de deux and – how delightful! – the Princess is the one who gets to destroy the egg containing Koschei’s soul.

QB The Firebird 2018. Company Artist Jack Lister and Artists of the Queensland Ballet. Photo David Kelly

Jack Lister (top) as Koschei in The Firebird. Photo: David Kelly

The end of Koschei’s malign rule means the Princess is free to leave with Ivan although Scarlett – unlike Fokine – is less interested in the happy couple than in the representatives of light and darkness. The lovers quietly disappear and the Firebird exults in her power, although not before paying respect to the dead Koschei in one of Scarlett’s many perceptive details.

Scarlett’s success with narrative ballets has been somewhat patchy but Stravinsky’s music and the original libretto give him the best of roadmaps. Scarlett uses the 50-minute version of the score from 1910, played blazingly by the Queensland Symphony Orchestra with Nigel Gaynor at the helm. Jonathan McPhee’s arrangement is for orchestral forces rather smaller than those asked for by Stravinsky – he wrote for quadruple woodwinds and three harps – but it gets the job done impressively.

Other choreographers of this much-visited work have chosen Stravinsky’s shorter 1945 suite (Balanchine in 1949; the 2009 Graeme Murphy recently revived by The Australian Ballet) but the suites were arranged for concert performance and for dramatic impact it’s hard to go past Stravinsky’s first thoughts.

The cast I saw at the first Saturday matinee was testament to the strong ensemble built by Li Cunxin in his six years as artistic director. Performances were vividly realised all round and Green’s mesmerising Firebird was deservedly greeted with a huge ovation. While his dance is made entirely within the classical idiom, Scarlett gives his Firebird – the Princess too – qualities of independence and authority so often missing on the classical stage. This is particularly welcome in light of how women appear in Carmen although, to be fair, Acosta doesn’t do the men any favours either.

QB Carmen 2018. Principal Artist Camilo Ramos and Company Artist Sophie Zoricic 5. Photo David Kelly

Camilo Ramos and Sophie Zoricic in Carlos Acosta’s Carmen. Photo: David Kelly

There are problems with Carmen just about everywhere you look. The storytelling is incoherent, skating over the top of anything that might give insights into Carmen’s character. She’s a sex-mad cipher. Don José (Camilo Ramos, backing up after his Prince Ivan earlier) is similarly superficial, just weaker, and therefore deeply uninteresting. Escamillo is there to toss off a whole lot of ballet tricks. There is no Micaëla, no Frasquita, no Mercedes, no context.

What else? Too frequently there’s no apparent relationship between the music (chiefly an arrangement of bits from Bizet’s opera) and the steps performed to that music. A tavern scene veers off into ersatz flamenco territory, indifferently done. Every now and again a man wearing preposterous bulls’ horns and a bit of bondage appears in the background to represent Fate.

Most problematic is the piece’s depiction of desire. Desire can be many things, not just sexual, and in Bizet’s opera it’s Carmen’s burning need to be free. That desire was dangerous for a woman then and still is. Carmen is murdered for her courage, not that this ballet makes you think about it or care. She’s just someone who dances in her underwear and rolls around the floor locking lips with her lovers.

Carmen is at one point surrounded by men who slap the floor vigorously and proceed to strip. It looked to me like nothing less than preparation for gang rape but also looked so ludicrous (think male strippers at a hens’ night) that the audience roared. Ghastly. I think we can safely say that at this point, as at others, there had been insufficient thought given to meaning and tone.

I felt very sorry for the Carmen I saw, Sophie Zoricic, to whom I send condolences. It was a big chance for her and she gave her all. That said, I suspect Carmen could have only the slightest chance of squeaking past the post if stocked with the biggest stars. Acosta danced both Don José and Escamillo during the London premiere season in 2015 and the RB’s most lustrous female principal, Marianela Nuñez, was the first Carmen.

Acosta is, of course, a relatively inexperienced choreographer while having been one of the RB’s most durable stars. Obviously the company wanted to please him. It should have helped him.

QB is on much safer ground with Scarlett. The young Englishman has a deal with the company to present one of his works annually for four years. The artistic associate arrangement started last year with the one-act No Man’s Land, originally made for English National Ballet. (His delectable Dream, a co-production with Royal New Zealand Ballet, was made in 2015 and isn’t counted.)

That leaves two more works to come. Scarlett’s international demand means it’s too much to hope that both would be new creations but I’m told there will certainly be one ballet made on the QB dancers.

Carmen & The Firebird ends in Brisbane on June 3.

Naming names: looking back on 2014

I’VE avoided making neat lists of 10 of this and 10 of that in my survey of 2014, which is good when it comes to the individuals who made the deepest impression on me. I decided not to divide the names by art form or vocation. There are dancers, opera singers, actors, actresses, directors and playwrights here and it pleases me to put them side by side. Or more precisely, one after the other in alphabetical order. Included are Australians who live in Europe but were home to perform and non-Australians I saw here.

NOTABLE WOMEN:

Nicole Car (singer, Eugene Onegin, Opera Australia, Sydney, March): Car’s debut as Tatyana firmed up what we already knew. Car is a major, major talent. Her supple, warm soprano sounded as fresh, free and glowing at the extremes as it did throughout and her expression of text and character was most moving. That fact that she’s slim as a reed with a graceful, natural ease on stage does not hurt at all. She made her US debut as Countess Almaviva in The Marriage of Figaro for Dallas Opera in October; next up she sings Marguerite in Faust in Sydney. An exciting prospect.

Misty Copeland (dancer, Swan Lake, American Ballet Theatre, Brisbane, September): Copeland, an African American, has become a powerful advocate for diversity in classical ballet and is on her way to becoming that rare beast – a ballet dancer recognised by the public at large. At 31 (she is now 32), she had waited a very long time to dance Odette-Odile in Swan Lake, and Brisbane had the privilege of seeing her role debut. Call it an out-of-hemisphere tryout if you want to, but I was thrilled to be at this history-making event. Copeland is the first African-American Odette in American Ballet Theatre’s 75-year history. Yes, the first. She had earned it, and she claimed it in Brisbane. She will dance the role for the first time in the US for Washington Ballet in April and then in her hometown, New York, for ABT in June. It will be a huge event, but we saw it first.

Lucinda Dunn (dancer, Manon, The Australian Ballet, Sydney, April): Dunn retired from dance in April after an extraordinary 23 years with the company and more than a decade as a principal artist. She was a true prima, accomplished in every aspect of her art and with huge respect for her audience. Her farewell performance was in Kenneth MacMillan’s Manon, a cornerstone role for ballerinas. She looked as if she could dance for another 23 years, but she was 40 and in an art form that exacts a brutal toll on bodies. As much as balletomanes would have wished it otherwise, she had to choose a moment to call it quits.

Christine Goerke (singer, Elektra, Sydney Symphony Orchestra, February): The American dramatic soprano was electrifying in the SSO’s exceptional semi-staged production, pacing the stage like a lioness kept too long in too small a cage. Her opulent voice was transfixing and boldly rode the tsunami of sound produced by the stupendous orchestral forces conducted by David Robertson.

Caitlin Hulcup (singer, Iphigénie en Tauride, Pinchgut 0pera, Sydney, December): Gluck’s ravishing opera is rarely performed here and Pinchgut did it great honour. In the title role, mezzo Hulcup – an Australian who performs mainly in Europe – was heart-stoppingly good, singing with passion, glorious control and silvery beauty.

Lindy Hume (director, Iphigénie en Tauride, Pinchgut 0pera, Sydney, December): The City Recital Hall in Sydney where Pinchgut Opera performs each year is what it says – a hall. Hume’s direction of Iphigénie on Tony Assness’s powerfully conceived (and of necessity static) set was a model of dramatic clarity and restraint, giving the tempestuous emotions of the piece room to breathe.

Lauren Langlois (dancer, Keep Everything, Chunky Move, Sydney, July; and The Complexity of Belonging, Chunky Move, Melbourne, October): Langlois trained as a dancer and she’s very fine one. She also a knockout with text, as Antony Hamilton’s Keep Everything and Anouk van Dijk and Falk Richter’s Complexity of Belonging proved. Her ability to combine the two disciplines in spectacular fashion had audiences shaking their heads in disbelief.

Meng Ningning (dancer, Romeo and Juliet, Queensland Ballet, July): There were many fine performances in Queensland Ballet’s audacious presentation of Kenneth MacMillan’s Romeo and Juliet but the revelation was QB principal Meng, who was partnered with superstar Carlos Acosta for his two performances. Meng has always appeared to keep her emotions locked well within but Romeo and Juliet produced the key and the release was tremendous. Even when Meng was the excitable young girl of her first scene there were intimations of tragedy in those questioning eyes, and her long, silken limbs always seemed to be searching and reaching for the overwhelming feelings Juliet discovered could exist.

Joanna Murray-Smith (playwright, Switzerland, Sydney Theatre Company, November): This is Murray-Smith in magisterial form. While rigorously maintaining the style and appearance of a naturalistic – even old-fashioned – bio-drama, Switzerland morphs into a psychological thriller and then what Dostoevsky called fantastic realism. It’s risky, surprising and very apt as Murray-Smith’s play takes on the qualities of Patricia Highsmith’s art, in form and atmospherics, and applies them to the writer’s life.

Hiromi Omura (singer, Madama Butterfly, Handa Opera on Sydney Harbour, March): Omura was a devastating Butterfly, singing with lyric beauty and spinto charge. She also unerringly charted Butterfly’s trajectory from radiant bride to the trusting wife who is discarded and utterly bereft. The expansive stage of rolling hills (Act I) and a crappy housing development (Act II) gave Omura a stunning canvas. I have never seen a Butterfly so convincingly transformed from submissive girl to a whirlwind of despair as her child is taken from her.

Pamela Rabe (actress, The Glass Menagerie, Belvoir, September): I was less enthusiastic about Eamon Flack’s production of the Tennessee Williams classic than were many others, but there is no dispute about Pamela Rabe as Amanda Wingfield, living on the edge of her nerves and trying vainly to keep up appearances. As always, Rabe is able to make one sympathise with a character who is in many ways monstrous. Amanda’s rage and disappointment were contained enough to allow her to survive, but heard in every garrulous outpouring. But Rabe is incapable of presenting a character for whom you feel no pity, and that was the case here.

Sue Smith (playwright, Kryptonite, State Theatre Company of South Australia and Sydney Theatre Company, Sydney, September): Smith’s beautifully named Kryptonite throws together politics, sex, international business and race. Lian and Dylan meet at university. She is Chinese and scrambling to survive in a system that lets her study here but not earn enough money to survive. He’s a laidback Australian devoted to surfing. They make a connection that, over the next 25 years, waxes, wanes and is buffeted by external forces. There are so few plays that explore our regional issues and identity, and this is a beauty.

Christie Whelan-Browne (Britney Spears: The Cabaret, Sydney, August): The train wreck that was Britney Spears’s earlier life is well known. Whelan-Browne’s rendering of that life, lavishly illustrated by Spears songs, didn’t descend to ridicule. Yes, it was often funny, but at the same time exceptionally compassionate. An outstanding performance.

Doris Younane (Jump for Jordan by Donna Abela, Griffin Theatre Company, Sydney, March): I loved the whole Jump for Jordan cast (and the play) but Doris Younane was outstanding. She expressed with heart-rending anguish the plight of a migrant who has never felt Sydney was her home. How does one leave behind everything that has been dear – family, traditions, language, the sights, smells and sounds of home – and plant oneself in new and alien soil? This performance put you in that place.

NOTABLE MEN:

Declan Greene (playwright, Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company, Sydney, May): Greene takes two uneasy souls and exposes their every weakness and slender hopes. A man and a woman meet via a dating site. He is married and obsessively into pornography, she is a nurse with an out-of-control shopping habit. Both have a core of self-loathing covered with a thin layer of coping. He is the greater fantasist and she the more self-aware but they’re both in deep, deep trouble. I can’t stop thinking about this play and how acutely it expresses the inner lives of desperate people.

Chengwu Guo (The Nutcracker, The Australian Ballet, Sydney, December): Guo is something of a human flying machine and in The Nutcracker there were times when you’d swear he was suspended by invisible wires, such is his elevation and ability to hang in the air. Guo added the plushest of silent landings and pristine pirouettes for a performance of technical brilliance, but of course The Nutcracker isn’t just about the moves. Guo also showed he can be a Prince – always good news in the ballet world.

Sean Hawkins and Andrew Henry (Howie the Rookie, Red Line Productions in association with Strange Duck Productions and Sydney Independent Theatre Company, Old Fitzroy Theatre, Sydney, October): Mark O’Rowe’s double monologue is sometimes performed by a single actor; here the duty was divided. The play is in two equal and equally exhilarating parts – two sides of the one coin – so let’s consider Hawkins and Henry together. In Howie the Rookie Hawkins and Henry guided the audience through a toxic night in an insalubrious part of Dublin, taking us on a wild ride expressed in some of the most violent, vulgar and baroque language you’re likely to encounter. Both actors were scintillating.

Jay James-Moody (The Drowsy Chaperone, Squabbalogic Independent Music Theatre in association with Hayes Theatre Co, March): Jay James-Moody may be considered rather too young for Man in Chair, the narrator and orchestrator of this wacky, heartfelt homage to the light-hearted musical theatre of bygone eras. Nevertheless he succeeded brilliantly. While he was arguably too fresh to be the quintessential bitter and bitchy show queen that is Man in Chair, he brought unexpected and memorable poignancy to the part.

Simon Laherty (Ganesh Versus the Third Reich, Back to Back Theatre, Sydney, March): Finally this wonderful piece came to Sydney. The story of the Elephant-headed god Ganesh’s quest to reclaim the swastika from the Nazis is typically explosive Back to Back subject matter as most of the company’s performers would have been considered extermination material by Hitler. It’s a wonderful ensemble piece, but nevertheless Laherty made, as he has before, the deepest impression on me. His deliberate voice, grave demeanour and the clarity and poise of his interactions made an indelible mark.

Josh McConville (actor, Noises Off, Sydney Theatre Company, February): The thing is, I could hardly tell you what McConville looks like. He is a theatre chameleon, shape-shifting into whatever is required and so very good at it all. He’s played some pretty desperate men and perhaps his character in Michael Frayn’s farce Noises Off could be described as such, but what fun to see McConville doing it for laughs. His stair work was exquisite.

Steven McRae (Romeo and Juliet, Queensland Ballet, Brisbane, July): The Australian-born principal dancer with London’s Royal Ballet showed why he is one of the most admired Romeos on the stage today. The impulsive, passionate youth of this dance-drama could have been made for him, so natural was the fit. McRae has a slight, elegant figure but radiated huge amounts of energy, taking the stage like a whirlwind. His crystal-clear line, the way he hovered in the air for precious moments in a turn or jeté, his vibrant attack and heady speed were treasures in themselves but given point and purpose by the way these technical gifts created character.

Steve Rodgers (actor, Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company, Sydney, May): Who better to illuminate Declan Greene’s play than Rodgers? Although the unnamed character he played is deceptive and cunning, Rodgers willed us to find some empathy. There was much before us that was messy, humiliating and ugly; Rodgers didn’t shy from the darkness but also revealed the pitiable emptiness of the life.

Richard Roxburgh (Cyrano de Bergerac, Sydney Theatre Company, November): Not a lot needs to be said here. Roxburgh’s Cyrano was darkly self-aware, exceptionally witty and heart-breaking. A superlative performance from one of the greats of our stage.

Damien Ryan (artistic director, Sport for Jove, Sydney): Ryan’s Sport for Jove productions always reveal fresh insights into classic texts, and this year’s Henry V, which he directed for Bell Shakespeare was perhaps his best. Which is saying a lot, because his All’s Well That End’s Well for Sport for Jove was magnificent.

Monday: Best of the best

Rojo, McRae, Acosta at QB

 Queensland Ballet, Brisbane, June 27, July 1,2,3

ROMEO and Juliet was a success in every possible way for Queensland Ballet, starting with the very fact of its presence in Brisbane. Kenneth MacMillan’s ballet is the gold standard for dance versions of Shakespeare’s play and is monumental, needing much larger forces than QB can ordinarily summon. It’s not just a numbers game of course – it requires performers of rare distinction and authority. QB’s artistic director Li Cunxin was able to persuade the MacMillan Trust his company could provide the dancers and the environment to pull it off, and so it did.

The season was illuminated by international guests Tamara Rojo, Steven McRae and Carlos Acosta and Australian guests Steven Heathcote and Daniel Gaudiello, and the key decision to pair Rojo, McRae and Acosta with QB principals was a triumph. Before the event it was made clear that QB’s leading dancers would not be relegated to support-act status. In performance they proved they would not be eclipsed by the superstars’ wattage.

Steven McRae and Natasha Kusch in Romeo and Juliet. Photo: David Kelly

Steven McRae and Natasha Kusch. Photo: David Kelly

Li fielded five casts, of which I saw four: the premiere on June 27 headed by Rojo and QB’s Matthew Lawrence, QB’s Meng Ningning with Hao Bin on July 1, Steven McRae and QB’s Natasha Kusch on July 2 and Acosta and Meng on July 3. (Well, I say five casts – Gaudiello, borrowed from The Australian Ballet for the season, danced Mercutio in six out of eight performances; the QB’s Rian Thompson was Benvolio the same number of times.)

The revelation was QB principal Meng, who was partnered with Acosta for his two performances. Meng has always appeared to keep her emotions locked well within but Romeo and Juliet produced the key and the release was tremendous. (“MacMillan will do that to you,” McRae commented to me when we were talking later.) Even when Meng was the excitable young girl of her first scene there were intimations of tragedy in those questioning eyes, and her long, silken limbs always seemed to be searching and reaching for the overwhelming feelings Juliet discovered could exist.

It initially seemed a big call to put Meng with Acosta, who is such a passionate stage animal. He’s announced that he will quit classical roles in two years (he is now 40) but his dancing still has panther-like strength and smoothness. Perhaps there’s a little less speed and snap but you can’t take your eyes off him.

Any fears about Meng’s ability to throw off her reticence were put to rest when she made her role debut two days ahead of her first performance with Acosta. She danced on this occasion with her husband, fellow QB principal Hao Bin, and while he wasn’t entirely at home with all the allegro aspects of Romeo’s choreography he partnered ardently. And it was clear one had to recalibrate one’s thoughts about Meng.

Meng Ningning and Hao Bin. Photo: David Kelly

Meng Ningning and Hao Bin. Photo: David Kelly

At her first performance with Acosta, the moment when Romeo and Juliet come face to face in the Capulet’s ballroom and are shocked into stillness was electrifying and, with this cast, so touching. Not only does the story tell us these two come from different tribes; the point was made visually with the Cuban-born Acosta on one side and the Chinese Meng on the other. Different externals but hearts and minds as one.

The great pas de deux that ends the first act was heart-stopping. When the would-be lovers kiss near the end, these two hesitated tremulously and longingly before making that irrevocable commitment. You could feel the entire house hold its breath. And Meng’s impetuous rush from her bedroom in search of Friar Laurence was quite magical.

The night before, McRae showed why he is one of the most admired Romeos on the stage today. The impulsive, passionate youth of this dance-drama could have been made for him, so natural is the fit. McRae lit up the stage with his boyish charm. He has a slight, elegant figure but radiates huge amounts of energy, taking the stage like a whirlwind. His crystal-clear line, the way he hangs in the air for precious moments in a turn or jete, his vibrant attack and heady speed are treasures in themselves but given point and purpose by the way these technical gifts create character.

This was Romeo lifted and buffeted by love. In the centrepiece pas deux under Juliet’s balcony McRae soared as if weightless. When the Nurse gave him Juliet’s letter he exited with delirious spins. When he was goaded into fighting with Tybalt after Mercutio’s death his sword-play was desperate and aggressive.

He was a wonderful partner too with his well-matched Juliet. Kusch was the most girlish of the three Juliets I saw and her interpretation meshed with McRae’s although was less fully developed. She seemed a little too flighty and a bit too much in love with love to make Juliet as tragic a figure as she should be. Physically, however, McRae and Kusch, who has a very clean, strong technique, looked wonderful together.

The gala opening was crowned by Rojo’s exceptional Juliet. Rojo, prima ballerina of English National Ballet and its artistic director too, was entrancing at every moment as conflicting emotions flashed across her face and intense feelings through her eloquent body, each one legible and theatrically potent. The chemistry between Rojo and her Romeo, Lawrence, took some time to gel but Lawrence’s all-stops-out tomb scene with the apparently lifeless Juliet was riveting.

Tamara Rojo and Matthew Lawrence. Photo: David Kelly

Tamara Rojo and Matthew Lawrence. Photo: David Kelly

I was sorry to miss Clare Morehen’s Juliet with QB corps de ballet member Emilio Pavan. Pavan has been with the company only since last year, having graduated from the Australian Ballet School in 2012, and Li has already given him some big roles. Also being fast-tracked is Vito Bernasconi (another 2012 ABS graduate), who was an imposing Tybalt – indeed, given that honour on opening night. Bernasconi had some performances as Mercutio as well, a bravura role of great complexity in which he was less effective.

There wasn’t any fat at all in the casting (hence the greatly gifted Gaudiello’s six Mercutios, four of them in a row). QB has only 27 dancers and its numbers essentially needed to double for R&J. At the upper end, apart from the visiting superstars and Gaudiello, there were other guests needed for important parts, including Heathcote as Lord Capulet, proving yet again what superb command he brings to the stage in character roles after his long and stellar career as the AB’s leading man. (Lovely, too, to see his daughter, Mia, shining away in the QB company.)

On top of their day jobs QB ballet mistresses Janette Mulligan and Mary Li shared the role of the Nurse and were both highly enjoyable. In addition, several former QB dancers were spotted among those creating the lively market scenes and the grave formality of the Capulets’ ball, alongside QB’s company dancers, eight young artists (essentially apprentices), professional year dancers and senior students.

One imagines Li was making a point: see what we can do if we have more dancers. It will be fascinating to see if the funding bodies agree QB should be significantly bigger.

Meanwhile, yesterday QB announced R&J had played to 97 per cent capacity in the 2000-seat Lyric Theatre with more than half of the audience new ticket-buyers. They’ll be very happy with that, particularly as I understand the production ended up in profit – not always the case even when huge amounts of money are taken at the box office.

Next up QB presents a quadruple bill under the title Flourish. It includes George Balanchine’s glorious Serenade, a ballet for a large corps of women and a small corps of men, three superb female soloists and two imposing men. With the retirement of lovely principal Rachael Walsh at the end of the R&J season (the photo below shows her as Lady Capulet – she was stunning). QB has only three female principals, and there is just one soloist, Lisa Edwards. There aren’t enough women in the ranks of the corps and young artists to make up the numbers, so, as with R&J, students will have to come into play. That’s fine for Serenade, which was created on student dancers, but this is nevertheless skating on fairly thin ice.

Rachael Walsh as Lady Capulet. Photo: David Kelly

Rachael Walsh as Lady Capulet, her final role for Queensland Ballet. Photo: David Kelly

Li’s ambitions for Queensland Ballet are huge and he’s prepared to take big risks to show what he thinks is possible. As I said at the start in relation to Romeo and Juliet, it’s not only a numbers game, but make no mistake. For what Li wants, numbers are very, very important.

Queensland Ballet’s Flourish runs August 1-9.

Affecting ardour

Queensland Ballet, Lyric Theatre, Brisbane, June 27

KENNETH MacMillan’s Romeo and Juliet is big in every way. At street level testosterone-fuelled gangs jostle and fight in the marketplace, revelling in their ancient grudge, as Shakespeare called it. Inside the great house of Lord Capulet the tumult is even greater, but is within the hearts of young lovers from different sides of the divide. Passion, sweat, blood and grief saturate Verona.

From its opening moments the ballet is one headlong rush to tragedy. MacMillan’s choreography, nearly 50 years old but still thrillingly immediate, blazes with energy and is swept along by the vivid drama of Prokofiev’s score.

Tamara Rojo in Queensland Ballet's Romeo and Juliet. Photo: David Kelly

Tamara Rojo in Queensland Ballet’s Romeo and Juliet. Photo: David Kelly

The forces required to do the production justice are immense and are normally found within companies two or three times the size of Queensland Ballet – the Royal Ballet, where it originated; American Ballet Theatre; La Scala; Birmingham Royal Ballet. QB is small, with a company of just 27. And yet, with a display of will breathtaking in its ambition and lavish in its provision of stellar guest artists, QB has brought it to Brisbane with affecting ardour.

Friday’s opening was crowned by the exceptional Juliet of guest Tamara Rojo, but that was to be expected. Rojo, prima ballerina of English National Ballet and its artistic director too, was entrancing at every moment as conflicting emotions flashed across her face and intense feelings through her eloquent body, each one legible and theatrically potent. She made every moment appear as if freshly experienced and newly thought and it simply defies belief that Rojo is 40. She makes you believe in the cosseted young girl who needs her Nurse, loves her doll and is both a little bit curious about and strongly resistant to the attentions of Paris. Her skittering little circle of bourees around Paris (stern, reticent Hao Bin) was delightful: a circumnavigation to see what she thought of him, which wasn’t much.

But the idea of love had been put into her head, and when she saw Romeo, any notion that she may have come around to Paris was futile.

QB’s artistic director Li Cunxin has paired his international guests – the others are Steven McRae and Carlos Acosta  – with QB principals. Rojo’s Romeo was Matthew Lawrence, who took some time to disappear into the role. He appeared more distanced from events than Rojo, a mature presence rather than a youth giddily in love, and therefore less touching in the earlier scenes, but his all-stops-out tomb scene with the apparently lifeless Juliet was tremendous. The great balcony pas de deux of the first act wasn’t entirely seamless, perhaps as a result of limited rehearsal time – a reason that could possibly also be applied to the trio for Romeo, Mercutio and Benvolio in the first act, which was scrappy and failed to fizz.

Also failing to fizz initially was the Queensland Symphony Orchestra conducted by Andrew Mogrelia, but after a safe and stolid start the QSO got back into the game decisively after the first interval to give a cracking performance that matched the grandeur of Paul Andrews’s glowing design. The strings that usher in the ballet’s final scene were particularly ravishing.

There were fine performances from former Australian Ballet principal artist Steven Heathcote as a magisterial Lord Capulet and current AB principal Daniel Gaudiello as the witty, razor-sharp Mercutio. Far less able to be predicted was the showing by young QB men in two key roles, Vito Bernasconi as “Prince of Cats” Tybalt and Rian Thompson as Romeo’s friend Benvolio. Thompson’s never faltering watchfulness commanded attention and Bernasconi, who graduated from the Australian Ballet School only in 2012, has stage presence to burn.

Of the QB women, principal Rachael Walsh was super-luxury casting as Lady Capulet and Eleanor Freeman, Meng Ningning and Sophie Zoricic roamed the stage avidly as women of lusty appetites.

Filling out crowd scenes and a few small ensemble roles for this performance and for the rest of the season are young artists, pre-professional program dancers and senior students – a fair number but not really quite enough of them, as in the ballroom scene QB can field only 12 couples rather than the 16 the Royal Ballet can easily summon. The stage did look a little under-populated at this point but otherwise the ensemble was splendid, and its part in the creation of the ballet’s teeming world crucial.

The relative inexperience of these dancers was the greatest risk for this Romeo and Juliet but their unwavering engagement on Friday night was in some ways the greatest achievement.

Coming later in the week: the cast led by QB principals Hao Bin and Meng Ningning (July 1); and Steven McRae (July 2) and Carlos Acosta (July 3).

Romeo and Juliet ends on July 5.

A version of this review appeared in The Australian on June 30.

Cojocaru and Kobborg

WHEN Alina Cojocaru and Johan Kobborg join The Australian Ballet in Sydney for two performances of Manon in April it will be their first appearance with an Australian company, but their second time in Australia together and Cojocaru’s third visit. She danced in A Midsummer Night’s Dream with Hamburg Ballet in Brisbane in 2012.

Cojocaru and Kobborg in Manon during the RB's Tokyo tour last year. Photo: Kiyonori Hasegawa

Cojocaru and Kobborg in Manon during the RB’s Tokyo tour last year. Photo: Kiyonori Hasegawa

In 2002 the Royal Ballet visited Sydney under the directorship of Ross Stretton – he was David McAllister’s predecessor in the equivalent role at the AB – when the dancers were relatively new members of the company. Cojocaru had just turned 21 but was already a principal dancer and considered one of the most wondrous artists to grace the international stage. Because of her youth she still had important roles to add to her repertoire, and it was in Sydney that she danced her first Odette-Odile.

Her partner in this Swan Lake, as it was in Giselle that season, was the Danish-born Johan Kobborg, himself a dancer of rare grace and artistry. They were not at that early stage the partners in private life they would become, but their chemistry was palpable. In my review of Swan Lake for The Australian, published on June 14, 2002, I wrote: “[Cojocaru’s] Prince Siegfried, the warm and sympathetic Johan Kobborg, looked as if he couldn’t believe how precious a creature had flown into his arms …

“The tiny Cojocaru is an Odette made of spun glass, one who might break if Siegfried were to hold her too tightly, but in need of his protection. She created an unforgettable image of sweet and sad fragility, expressed via a sweeping back, exquisite placement, mime delivered with a touching sense of being new-minted and a melting quality that saw her float rather than fall into Kobborg’s embrace.”

In the following 12 years reviews for the pair have only got better. Kobborg, now 41, is still dancing at the highest level with the best companies – he guested with San Francisco Ballet in January, partnering Maria Kochetkova – but is diversifying his talents widely. He also stages ballets, choreographs (including a captivating Giselle co-choreographed with Ethan Stiefel last year for Royal New Zealand Ballet) and a month ago took up the post of artistic director of Romanian National Ballet. At 32, Cojocaru is in her prime. The current standing of both is testament to their ferocious commitment to the art of ballet. They do not submit to the status quo.

Ballet knows no borders these days. There have, of course, always been artists who have accepted guest roles around the world, but activity in this area has become a whirlwind – at a certain level. The starriest names in ballet are pursuing fresh inspiration and experiences around the globe. If one company can’t provide everything these superlative dancers need, they’ll find others that can.

Last year the AB hosted American David Hallberg, widely considered the world’s reigning male classicist, and stratospheric Russian pair Natalia Osipova and Ivan Vasiliev. This year those fortunate enough to be in Sydney at the evening performance of Manon on April 19 and on Tuesday April 22 will see Cojocaru and Kobborg. Riches indeed.

Cojocaru and Kobborg caused a huge stir in the UK last year when they abruptly left the Royal Ballet after more than a decade. Their departure was announced just two days before their final London performance (a Tokyo tour shortly afterwards marked the absolute end), causing consternation among fans and ballet critics. The dancers are deeply loved and their longstanding stage partnership – an increasingly rare phenomenon – is hailed as one of the art form’s greatest.

Cojocaru was swiftly snapped up by English National Ballet, a company that appears to allow the flexibility she desires. Writing via email, she says she has just been working in London on new pieces by the young turk Liam Scarlett and contemporary great Russell Maliphant, which she will perform just before coming to Sydney, and is about to dance Onegin with Hamburg Ballet, with which she has a strong association. In addition, Kobborg, speaking by phone from Bucharest about the AB visit, said he considers Cojocaru part of his Romanian company. “I consider this one of her homes. Of course I want to involve Alina as much as possible.” (She was born in Romania.)

Cojocaru’s craving for such variety and for new work impelled her to leave the RB. “The artist in me became starved for inspiration and challenges,” she wrote in her email. “I have so much more to learn and experience in this amazing art form!”

‘The artist in me became starved for inspiration and challenges’

Kobborg says the RB could offer security and that he could potentially have stayed another five years, “but it just didn’t really do much for me any more. And if Alina wasn’t going to be there … She wanted to do something different and I support her. You have to put yourself in situations where you don’t feel too secure. To experiment, if that’s the right word. It’s about art, not about recreating the past.”

Despite her eye being equally focused on the future, Cojocaru’s Sydney debut in Swan Lake remains a treasured experience. “I was very lucky and happy that Ross Stretton had asked Natasha Makarova to work with me on this role. And for me it is [the] most special memory of this ballet ever.

“After that tour, we had a few attempts to come back dancing in Australia … but I guess things do happen when they are meant to and it looks like now is [the] right time for it. I am really very excited about coming back to a place where I have such wonderful memories of our shows there with Johan!

“And Manon is of course such a masterpiece that we are very much looking forward to work on this ballet with The Australian Ballet. Especially as each person in the ballet brings their energy and way of performing that I am sure it will be very inspiring journey of discovering and developing a connection with everybody.”

While his artistic directorship is his priority, Kobborg said he is able to plan around the job to continue his onstage career. “I started a month ago and had known about it for about two months before that,” he says. “It was not something I applied for, it was not something that was planned.” For that reason he still had – and has – dancing commitments in the diary for up to 18 months. He may withdraw from a few things, but says of the AB visit: “Manon is a ballet very close to me and Alina. There was no question about it,” says Kobborg.

“I’m not saying goodbye to dancing; [but] I only have to say yes to the things I really want to do. I want to be realistic. I’m getting old” – Kobborg gives a little laugh at this point – “but there are still definitely some things I find interesting and I can bring something to.” He doesn’t necessarily plan to dance with his Romanian company but doesn’t close the door either. “If there is a need, of course … if I can help by being on stage then I will do it.”

This year the AB doesn’t have the superstar power all to itself. Performances of Kenneth MacMillan’s Romeo and Juliet by the resurgent Queensland Ballet in June and July will feature RB principals Carlos Acosta and Sydney-born Steven McRae as well as Tamara Rojo, who also happens to be Cojocaru’s boss at ENB. Like Kobborg she is an artistic director who continues to perform. Further proving ballet’s current fluidity, Brisbane-born AB principal artist Daniel Gaudiello also guests with QB.

“We not trying to out-guest the guests,” McAllister says about the conjunction of stars. “More ballet and better ballet from everyone makes everyone better. It’s certainly great to see QB developing and growing, as it is with West Australian Ballet. It builds an excitement around ballet.”

The Sydney season of Manon runs from April 3-23. Cojocaru and Kobborg appear on April 19 and 22. The Melbourne season of Manon runs from March 14-24.

A version of this article ran in The Australian on March 3.

The year ahead

And coming up in 2014 …

LAST year it was easy to point to the events in dance one thought would be unmissable (not so very many) and theatre (vast amounts). Mostly performances and productions delivered pretty much what one thought they would and moments of transcendence were few, but I guess they always are. Sydney Theatre Company’s Waiting for Godot, Griffin Theatre Company’s The Floating World and Nature Theatre of Oklahoma’s Life and Times (for the Melbourne Festival) are among the shining few, and opera offered tremendous occasions in Opera Australia’s Ring cycle and Pinchgut’s Giasone.

This year is a bit harder to read, particularly in theatre. There’s a handful of sure things – well, likely sure things, if that makes any sense at all – alongside some more intriguing propositions. Note that I’m only talking about Sydney theatre because that’s where I see most in this art form. Otherwise I get around a bit.

The events are in chronological order – which incidentally reveals a few unfortunate clashes for the dedicated dance fan – American Ballet Theatre’s Swan Lake (Brisbane) and The Australian Ballet’s La Bayadere (Melbourne) open August 28; West Australian Ballet’s La fille mal gardee (Perth) and ABT’s Three Masterpieces triple bill opens September 5. Akram Khan’s DESH opens in Brisbane on September 6.

Dance:

Dido & Aeneas, Sasha Waltz & Guests. From January 16, Sydney Festival. Purcell, the Akademie fur Alte Musik, singers, dancers and a huge tank of water.

Patyegarang, Bangarra Dance Theatre. From June 13 in Sydney, then Canberra, Perth, Brisbane, Melbourne. Stephen Page’s new work on the meeting of minds between Lieutenant William Dawes and Patyegarang, a young indigenous woman, in colonial Sydney.

Romeo and Juliet, Queensland Ballet. From June 27, Brisbane. Kenneth MacMillan’s version (the best in my opinion) and guest stars Carlos Acosta, Tamara Rojo, Steven McRae and Daniel Gaudiello.

The Red Shoes, Expressions Dance Company, from July 18, Brisbane. Choreographer Natalie Weir tackles this much-loved, influential – albeit rather creepy – story of obsession in the ballet world. Intriguing.

American Ballet Theatre, from August 28, Brisbane only. First up is Kevin Mackenzie’s Swan Lake, but I’m more interested in the triple bill, which includes Twyla Tharp’s Bach Partita, which was recently revived by ABT after a 28-year hiatus. From September 5.

La Bayadere, The Australian Ballet, from August 28 in Melbourne, then Sydney. Choreographer Stanton Welch promises Bollywood colour and energy and a clearer, speedier version than usual. The beloved Kingdom of the Shades scene will, of course, be as expected.

La Fille mal gardee, West Australian Ballet, from September 5. This sweet and sunny ballet, updated to 1950s rural France, is seen in Perth and then will go to Queensland Ballet in 2015. QB’s Coppelia, choreographed by ballet master Greg Horsman (opening April 24 this year), goes to WAB next year in a sensible sharing of resources.

DESH, Akram Khan, from September 6, Brisbane Festival. I have longed to see this since its premiere and missed it at the Melbourne Festival in 2012. This is one occasion on which I won’t rail against the tendency of arts festivals to program work from a fairly small (admittedly stellar) group of dance artists.

Theatre:

Noises Off, Sydney Theatre Company, from February 17. I first saw Michael Frayn’s brilliant farce about 30 years ago and laughed like a loon. The memories are vivid; let’s hope they can be matched – surpassed even! – by this new production.

Ganesh versus the Third Reich, Back to Back Theatre, Carriageworks, from March 12. At long last Sydney gets to see this hugely admired work.

Hedda Gabler, Belvoir, from June 28. Ash Flanders will star. And yes, he’s a bloke who often performs in female guise. Flagrant nicking of a role a woman should have or a revelation? We shall see.

Macbeth, Sydney Theatre Company, from July 21. STC is giving over the auditorium of the Sydney Theatre to the actors and putting the audience on the stage. Hugo Weaving stars. Sounds promising, no?

Emerald City, Griffin Theatre Company, from October 17. David Williamson never really went away, despite the protestations of retirement, but he’s having quite the resurgence these days (Travelling North gets things moving at STC from January 9).

Opera and musical theatre:

Madama Butterfly, Handa Opera on Sydney Harbour, Opera Australia, from March 21. No explanation required.

Strictly Ballroom the Musical, from March 25, Sydney. No explanation required.

The King and I, Opera Australia and John Frost, Brisbane, from April 15, then Melbourne and Sydney. I saw this lovely production when it premiered in 1991, directed by Christopher Renshaw, designed by Brian Thomson and with frocks by Roger Kirk that got their own applause. There’s no reason to think it won’t be a winner again, particularly with Lisa McCune rather than Hayley Mills as Anna.

Into the Woods, Victorian Opera, Melbourne, from July 19. Stephen Sondheim. Say no more.

The Riders, Victorian Opera, Melbourne, from September 23. New Australian opera from Iain Grandage with libretto by Alison Croggon, based on Tim Winton’s book.

Dance in 2013

THE Australian dance-lover had plenty to enjoy in 2013, as long as there was a decent travel budget to hand. Paris Opera Ballet returned to Sydney, the Bolshoi had a season in Brisbane, The Australian Ballet premiered a new version of Cinderella by Alexei Ratmansky (Melbourne and Sydney only, although Adelaide sees it in 2014), Queensland Ballet had extended sell-out seasons under new artistic director Li Cunxin, West Australian Ballet brought Onegin into its repertoire and Sydney Dance Company got even more glamorous.

Leanne Stojmenov and Daniel Gaudiello in Cinderella. Photo: Jeff Busby

Leanne Stojmenov and Daniel Gaudiello in Cinderella. Photo: Jeff Busby

Those were the big events of 2013. Unfortunately there were fewer small-scale gems, or at least few I was able to see. In the wide, brown land it’s not always possible to find oneself in the right city at the right time to catch up with the leading contemporary companies and independent artists, particularly when seasons can be cruelly short.

There was also a lot of déjà vu when it came to international visitors. Of course one would never knock back the chance to see Sylvie Guillem, or Akram Khan’s work, or Fabulous Beast Dance Theatre, but the names bob up again and again. I acknowledge, however, that I travel around the country to see dance more than most people do. Perhaps I just get out too much.

What follows, therefore, isn’t necessarily a reflection of what was best (although much was terrific), but what was memorable.

The dancers:

The AB nabbed Natalia Osipova and Ivan Vasiliev for performances of Don Quixote in Melbourne. Vasiliev roared on like a comet and didn’t let up from the get-go. He’s no text-book classicist, but gee he’s fun to watch. Dancing the lead gypsy, resident AB firecracker Chengwu Guo threw in a cheeky backwards somersault just to remind the audience there were other men on stage. Later in the year, after dancing Basilio with boyish charm, Guo was promoted to senior artist. By year’s end he was a principal artist, promoted onstage after a high-flying appearance as James in La Sylphide. A very wise call on the part of AB artistic director David McAllister.

Chengwu Guo. Photo: Lisa Tomasetti

Chengwu Guo. Photo: Lisa Tomasetti

Also at the AB, Daniel Gaudiello got more opening nights (Basilio, James, the Prince in Ratmansky’s Cinderella), and rightly so. QB’s Li Cunxin likes him too. Gaudiello was a guest artist in Brisbane for Giselle – making his role debut as Albrecht – and will appear in 2014’s Romeo and Juliet as Mercutio when QB stages the MacMillan production from late June.

Still with the AB, Leanne Stojmenov had the role of her career in Cinderella, and in The Four Temperaments and Dyad 1929 (part of the Vanguard program), evergreen principal Lucinda Dunn exuded wisdom and sensuousness in works that can look all too coolly intellectual. Also on that bill was Kylian’s Bella Figura, in which corps de ballet member Ingrid Gow had one of those break-out moments.

In Brisbane, it was adorable to see Alexander Idaszak, in his first year out of the Australian Ballet School, be given the chance to dance Albrecht and to do it with such composure (he’s already moving on, however, to Royal New Zealand Ballet, which also has a starry artistic director in Ethan Stiefel). Li showed faith in another newbie, Emilio Pavan, when he was cast as the Prince in The Nutcracker, an assignment he carried out with much promise. Li added Natasha Kusch to his already lustrous group of female principal artists, and she was astutely paired with former AB dancer and now Dutch National Ballet principal Remi Wortmeyer in Nutcracker. It was a sparkling partnership.

In Perth, new artistic director Aurelien Scannella has restructured the company, creating principal artist, soloist, demi-soloist and corps de ballet ranks. On the opening night of Onegin – secured for WAB by former artistic director Ivan Cavallari – WAB showed off its new principal, Jiri Jelinek, formerly with Stuttgart Ballet and National Ballet of Canada (he is now a guest principal with the latter). Senior women Jayne Smeulders and Fiona Evans, now principals, were completely different and very fine Tatianas, and Matthew Lehmann found himself promoted to the top rank after his Onegins.

POB’s Giselle performances gave us the luminous, diaphanous Dorothee Gilbert and the role debut of Myriam Ould-Braham, a dancer made for this role. Mathieu Ganio, aristocratic to the last molecule, partnered both but Ould-Braham’s sweet simplicity seemed to make him warmer and ever-so-slightly gentler. In the Bolshoi’s The Bright Stream, a delight from beginning to end, Maria Alexandrova was exceptionally vibrant, witty and warm.

The corps of Paris Opera Ballet, Giselle Act II. Photo: Sébastien Mathé

The corps of Paris Opera Ballet, Giselle Act II. Photo: Sébastien Mathé

The AB managed to insinuate itself into David Hallberg’s very full diary for three performances of Cinderella in Sydney. The refinement, grace and noble partnering of the American Ballet Theatre and Bolshoi principal artist were a perfect fit for Ratmansky’s ballet, and Hallberg even managed to make something of the Prince’s travels, one of the slightly less successful parts of Cinderella. Hallberg’s Cinderella was Amber Scott, whose other-worldly delicacy made her a lovely match for this prince among princes.

A special mention goes to Sydney Dance Company as a whole. It’s a spectacularly good-looking ensemble.

The dances:

As you’ll see from the above, there wasn’t a lot of surprising work on offer. From the tourists, the Bolshoi’s The Bright Stream and Fabulous Beast Dance Theatre’s down-and-dirty The Rite of Spring were outstanding. Locally, SDC’s Cacti, the exceptionally amusing work by Alexander Ekman, and the AB’s Surrealist Cinderella made most impact. Well, Cinders looked much better in Melbourne, but what can you do? I also was extremely taken by Dance Clan 3, Bangarra Dance Theatre’s studio showing of new work. This time four of the company’s women – Deborah Brown, Yolande Brown, Tara Gower, Jasmin Sheppard – took up the challenge, and did so most movingly. One of those terrific evenings when you have no idea what’s ahead. I didn’t get a lot of that this year.

The ideas:

I’ve said this quite a lot elsewhere, but I love the way SDC’s Rafael Bonachela is engaged with other artists from other forms. Les Illuminations brought together SDC, string players from the Sydney Symphony Orchestra, conductor Roland Peelman, singer Katie Noonan and fashion designer Toni Maticevski to celebrate the centenary of Benjamin Britten. It was a standout, and a pity there were so few performances.

In Brisbane Queensland Ballet has taken advantage of the state government’s new Superstar Fund to lock in big-name guest artists for its mid-year Romeo and Juliet. Carlos Acosta, Tamara Rojo and Sydney-born Royal Ballet luminary Steven McRae come to town. Gaudiello will be back too – it’s so good to see this wonderful dancer getting more recognition.

Another big idea for QB is the institution of The Nutcracker as an annual Christmas event. Time will tell whether it will catch on indefinitely, but this year’s season did boffo box-office.

The Australian Ballet’s 2014 season announcement showed a small but potentially important programming shift. Instead of the usual and unvarying number of performances given to each program, regardless of audience appeal, the AB will now give shorter seasons of the contemporary rep. This is most noticeable in Sydney, where there will be nine performances of  the Ballet Imperial/Suite en Blanc double bill (May 2-17) and 10 of the Chroma/Sechs Tanze/Petite Mort/ New Baynes work bill (April 29-May 17). Note the overlapping dates – yes, programs in repertory!

As mentioned, WAB has introduced the kind of ranking system most usually seen in larger companies. Aurelien Scannella has forcefully talked about having more dancers (predecessor Cavallari got WAB a huge boost during his time). Can Scannella manage a further upwards trajectory in a city that has a huge appetite for big stuff but not so much for throwing money at the arts? And at a difficult time for the state’s finances? Worth keeping an eye on. As is QB’s obvious ambition to provide not just an alternative, but a competitor, to the AB.

The dance that turned into a play but was still full of dance:

One of the sweetest pleasures of 2013 was Gideon Obarzanek‘s Dance Better at Parties for Sydney Theatre Company, a play based on his dance work for Chunky Move that had its genesis nearly a decade ago when Obarzanek interviewed men about movement. The play, a two-hander for Steve Rodgers and Elizabeth Nabben, was simplicity itself. A bereaved man comes to a dance studio to learn how to dance, which may help him fit in socially, but really he is in desperate need of contact. To be touched. And the audience was touched too, very deeply.

Elizabeth Nabben and Steve Rodgers in Dance Better at Parties. Photo: Brett Boardman

Elizabeth Nabben and Steve Rodgers in Dance Better at Parties. Photo: Brett Boardman

The disappointments:

The big, big loss this year was the cancellation of Spring Dance, the festival inaugurated by the Sydney Opera House and now pulled out of the calendar. Yes, it was costly, but gave contemporary dance a highly visible platform from which to entice audiences. Fragments of it remained – Les Illuminations (see above) and Akram Khan’s iTMOi – “In the Mind of Igor” – which did not entirely convince me.

Freeze Frame, the collaboration between the Brisbane Festival and Debbie Allen, was well-meaning but lacked coherence in just about every department. Allen wrote, choreographed and directed. And appeared in it. There’s a hint right there.

His Majesty’s Theatre, Perth, is entirely inadequate for ballet of any scale. The sets for Onegin had to be cut back and squashed in and the sightlines are terrible from many seats. Tough cheese though. It’s unlikely there will be another new theatre in Perth for a decade or more – the State Theatre Centre of Western Australia, home to Black Swan State Theatre Company and Perth Theatre Company, was opened in 2011. Poor old WAB is not well served at all.

What a shame that Australia’s smaller centres aren’t able to see the AB, QB and WAB regularly. Instead the gap is filled by touring Russian companies of extremely variable quality. This year I saw a Nutcracker from an outfit called Russian National Ballet Theatre, whose provenance is a little difficult to work out, although companies under that name have toured before. I paid nearly 100 bucks (no, let’s be fair, my sister paid) for no orchestra, a severely truncated story, classroom choreography and production values that were modest. I do understand that local companies wouldn’t be seen dead putting on productions of such a low standard and that it costs a great deal to do better, and that they already have full schedules. But if I had a magic wand …

The year’s most graceful tribute:

In July Alastair Macaulay, dance critic for The New York Times, set out to describe the attributes of an American ballerina, and was even prepared to say how many women in US companies currently deserve to bear the title of ballerina. The number is not great: “at least 10” is what Macaulay was prepared to say. In reply, in the December/January edition of Pointe magazine, Gillian Murphy – a principal dancer with American Ballet Theatre and principal guest artist with Royal New Zealand Ballet – gave her perspective. Along the way she had this to say about RNZB’s Lucy Green, a young Australian being given important roles with the company: “I am excited to watch a young dancer with extraordinary promise grow into a star.” Murphy praises Green’s dance attributes, then continues: “However, for me, it is her work ethic, her imagination and her sensitivity to others that really classify her as a ballerina in the making.” Murphy admires dancers who “encourage greatness in everyone around them”. Beautiful.

Lucy Green as Odette. Photo: Evan Li

Lucy Green as Odette. Photo: Evan Li

 The Trans-Tasman Prize for Sang-Froid:

I’m including RNZB here again because I can. The month is July, a performance of Swan Lake, featuring Lucy Green as Odette-Odile, has not long finished, and RNZB staff and dancers past and present have gathered for a late-afternoon party to celebrate the company’s 60th anniversary. Wellington is shaken by an earthquake – a big one. Everyone dives to the floor, which is moving alarmingly. The tremors stop, we all get up and the party continues. Well, that’s one way to cut the speeches short.

Finally…

Many thanks to London-based writer and critic Ismene Brown, who gave unparalleled, necessary insight into the dance world’s biggest story in 2013, the Bolshoi crisis and its fallout. And moving right along, there’s Nikolai Tsiskaridze in St Petersburg. Follow her @ismeneb; ismeneb.com

Next up, what’s of interest in 2014?

The Australian Ballet launches a new look

The Australian Ballet’s 2014 season introduces a few surprises

IT used to be chiselled in stone. Every mainstage season of the Australian Ballet in Melbourne would have 11 or 12 performances and in Sydney, in the smaller Joan Sutherland Theatre, there would be 20 or thereabouts.  It didn’t matter if it was Swan Lake or a harder-to-sell triple bill; the number of performances was pretty much the same. The AB would add a few extra shows for extremely popular repertoire, as it is doing for next year’s Nutcracker (the Peter Wright version), but there was no adjustment down for the mixed programs that are rarely as well attended as full-length ballets. Each season was also strictly dedicated to the one program.

AB dancer Benedicte Bernet in a promotional shot for the 2014 season. Photo: Paul Scala

AB dancer Benedicte Bernet in a promotional shot for the 2014 season. Photo: Paul Scala

For 2014 the AB has made several changes that look eminently sensible: win-win-win for audiences, dancers and the company’s bottom line. There is a reduction in the number of Sydney and Melbourne performances of the two mixed bills, Imperial Suite and Chroma, with Sydney seeing a big change – in the slot where you’d usually see one mixed bill, Sydney will divide the time more or less equally between two. The change in Melbourne is far less marked in this respect; it gets a reduction from the norm of only a couple of performances. The cities will each get exactly the same number of performances for Imperial Suite (nine) and Chroma (10), which suggests Melbourne is a rather stronger market for mixed bills than Sydney given the significant difference in theatre capacity between Melbourne’s State Theatre and the Joan Sutherland. Or perhaps that’s just how the juggling act had to work.

In Melbourne Chroma will precede Imperial Suite but in Sydney the programs will be presented in repertory – a major change. On Saturday May 17 it would be possible to see both by attending the matinee and evening performances.

Melbourne does have one little overlap. For the first time the new choreographers’ workshop, Bodytorque – in its 10th year – will be staged in Melbourne and one of the three performances (June 24) will be in the midst of the Imperial Suite season (June 20-28). This is good news for Melbourne dance-lovers who have been asking for Bodytorque, but it will be challenging for the choreographers. Instead of the Sydney Theatre’s friendly proportions for smaller-scale work they will have to come to grips with the huge State Theatre stage and auditorium.

Ako Kondo in a promotional shot for the AB's Bodytorque.DNA. Photo Paul Scala

Ako Kondo in a promotional shot for the AB’s Bodytorque.DNA. Photo Paul Scala

In her introduction to the season, the AB’s new executive director, Libby Christie, wrote that the changes would allow a more diverse selection of works, create flexibility for audiences and give dancers more opportunities to perform. In broad terms it means Sydney now has room for an extra mainstage program, although it loses Bodytorque. And it gives the AB the chance to get bigger houses for the contemporary work. Well, that’s obviously the idea, and good luck to it.

Work from both the AB’s resident choreographers will be seen in Melbourne and Sydney next year. Stephen Baynes will be part of the Chroma program (headlined, obviously, by Wayne McGregor’s Chroma from 2006 and including Jiri Kylian’s Petit Mort and Sechs Tanze). The AB has also programmed Stanton Welch’s 2010 production of La Bayadere, made for Houston Ballet where he is artistic director. The often omitted temple-tumbling fourth act is included and there is the promise of live snakes. If this photograph is any guide, the production will live up to its tag of being opulently Oriental in design – Peter Farmer is the man responsible.

Robyn Hendricks and Ty King-Wall give a taste of Stanton Welch's La Bayadere. Photo: Paul Scala

Robyn Hendricks and Ty King-Wall give a taste of Stanton Welch’s La Bayadere. Photo: Paul Scala

In addition, Brisbane is rapidly becoming ballet central: next year the AB gives it two programs, Kenneth MacMillan’s Manon (February 21-March 1) and Imperial Suite (February 26-27), a strong addition to the visit from American Ballet Theatre in August-September (Swan Lake; a mixed bill of Twyla Tharp, Jerome Robbins and Alexei Ratmansky) and Queensland Ballet’s presentation of MacMillan’s Romeo and Juliet, featuring international guest artists Carlos Acosta and Tamara Rojo. It is worth noting that this year extra performances have been added to all QB’s seasons in artistic director Li Cunxin’s first full year, despite sell-out performances for the visiting Bolshoi.

Adelaide is also visited in 2014, and will see Alexei Ratmansky’s Cinderella, which premieres in Melbourne later this month and is seen in Sydney from November 29.

The Australian Ballet’s 2014 program in brief:

Manon (MacMillan), Brisbane, Melbourne and Sydney

Imperial Suite (Balanchine’s Ballet Imperial, Lifar’s Suite en blanc), Brisbane, Melbourne and Sydney

Chroma (McGregor, Kylian, Baynes), Sydney and Melbourne

La Bayadere (Welch), Melbourne and Sydney

The Nutcracker (Wright), Melbourne and Sydney

Cinderella (Ratmansky), Adelaide

Bodytorque.DNA, Melbourne

Li Cunxin and Queensland Ballet, one year on

LI Cunxin arrived at Queensland Ballet as artistic director-designate on July 16, 2012. He took full control of the company’s reins this year and has made significant changes already with more in store. When I was in Brisbane to review QB’s Giselle, which closes this weekend, I took the opportunity to talk to Li about his goals and plans. At the June 21 opening performance, less than 24 hours before, Li had to tackle one of the most difficult issues any artistic director faces. His first cast Giselle, Meng Ningning, had injured her foot during the first act and at interval Li was told he urgently needed to go backstage. After an only slightly longer interval than advertised, Li made an announcement from the stage that Act II would be danced by Rachael Walsh and Matthew Lawrence.

What follows is an edited transcript of our conversation.

Queensland Ballet artistic director Li Cunxin

Queensland Ballet artistic director Li Cunxin. Photo: Christian Aas

AS a director it’s your worst nightmare when they said at interval, Ningning is in tears, please come back. She says to me she can’t feel her foot. She doesn’t know if she can go on. I asked her to rate her pain out of 10. Eight or nine she says, tears pouring down her face. But she says she’ll go on if I want her to. I say, “No, no!”

I’m lucky as a director to have two alternative couples [Walsh and Lawrence; Clare Morehen and Alexander Idaszak, who was scheduled to make his Brisbane debut as Albrecht the next day]. Rachael was in the audience, and we had to stop her going into the intermission reception [Li laughs]. I did consider Alex and Clare because they were made up and warmed up [Idaszak had danced in the peasant pas de huit; Morehen played the role of Bathilde; Lawrence had appeared as the Duke of Courland], but I really felt that for Alex it was already an enormous ask for him to go on today [at the June 22 Saturday matinee]. Often you can destroy a young dancer’s confidence, destroy their careers by pushing them too far. In my heart, when I sat there and closed my eyes, [I asked], what is the right thing, what is the best experience you can give to the audience?

Clare Morehen and Alexander Idaszak. Photo: Daivd Kelly

Clare Morehen and Alexander Idaszak. Photo: Daivd Kelly

Alex is 20 [Li smiles like an indulgent father]. He has an innate noble quality. He’s a very natural partner and a very elegant dancer. Wonderful form. It’s always a big step for a director to give someone who is first year out of [the Australian Ballet School] and give them such an opportunity, but I was the beneficiary of such opportunities. When you have that kind of talent you have to give them opportunities when they arise. It wasn’t intended to be, because one of our top principals, Hao Bin, had a wrist surgery, he had a chipped bone. So I thought, well, you know, [for Idaszak] that’s the kind of opportunity you dream to have. The other thing is, it really sends a very clear message to all dancers that if you work hard, the opportunities will be there. It takes enormous faith and trust from a director to give opportunities like that, but I think it’s very important to do that.

My goals were, at the very beginning, I want to get the right team together. The team is key to realising the vision – the artistic team, the music, the production, the wardrobe, closely under my supervision. All these key people have to be right to allow me to reach the artistic goal. I think we’ve done very well to have the calibre of teachers and coaches to allow the dancers to reach their potential – to challenge them, to push them, to help them improve on a daily basis, and to have that innate understanding and knowledge [of classical ballet]. Classical ballets are the most difficult to do well. The most challenging. I really think we have that team.

Also we have to be able to – it’s not a one-year thing – we have to have a vibrant, talented and exciting group of dancers. I think we’re nearly there. I would never say we are there, because there’s continual improvement, continual fine-tuning.

There was a significant turnover in dancers after Li arrived.

IT was very much dependent on what I was going to find in the audition process. I wasn’t sure about what calibre of talent I was going to find. In particular there were ABS graduates of really good quality, good standard, so I felt it was an opportunity for QB. [This gave him a very junior company; about half the dancers are in their first professional job.]

Matthew Lawrence as Albrecht. Photo: David Kelly

Matthew Lawrence as Albrecht. Photo: David Kelly

It’s an enormous challenge. I felt there were two ways to go about adding experience. Obviously the knowledgeable and experienced artistic staff is one important element; the other was to balance it out with experienced dancers. So Matt Lawrence for us was a godsend addition [the former Australian Ballet principal dancer was subsequently a principal at Birmingham Royal Ballet, which he left to join QB]. Then we also have Huang [Junshuang] from the US [where he danced with Houston Ballet], He’s a phenomenal dancer. Absolutely phenomenal. His skill set is really way up there in the international standard. So we have him and Matt and also Hao Bin, three male dancers at the top, coupled with three female experienced dancers, Ningning, Rachel and Clare. So we’ve got three star couples to lead. The middle rank, the soloist rank, is what I want to be able to bring up.

Li recently promoted Lisa Edwards to soloist and she was first cast Myrtha, Queen of the Wilis in Giselle.

SHE is fabulous. I couldn’t have asked any more from that girl, in every area. Leadership, commitment, the care for her dancing, anything you ask her. Clare had a hip injury so I had to rest her for a couple of days and I wanted her partner, Alex, to keep working, so I asked Lisa to step in. She knew everything. She knew every step. She’s thriving. She’s the happiest. A happy dancer is a good dancer.

If Ningning doesn’t come back [Edwards] would be a very logical person to give the opportunity [to dance Giselle]. [This indeed happened; Edwards danced two performances with Huang. Morehen was also given a performance with Huang.]

I really think as a dancer you want to do different things. You can’t be just typecast as the prince. That’s not my company. My company has to be versatile. Huang was Albrecht last night and Hilarion today. I think it’s fabulous. As they mature they take these kinds of experiences with them and it makes them better artists at the end. Matt Lawrence did [the non-dancing role of] the Duke last night. He was fabulous as the Duke. He did Ugly Sister in Cinderella [QB’s first major production this year]. It’s wonderful to have that humility and that willingness to give it a go rather than, ‘’I’m a star’’. I don’t want that kind of company.

Li’s fund-raising skills have been in early evidence.

MY goal was to be able to have as many performances to live music as possible. When we announced the [2013] season we did not have the funding [for live music for Giselle]. I really struggled with myself. I thought, I cannot let the audience see this ballet with taped music. I cannot let my dancers dance this ballet with taped music. On tour, it’s a different story. It’s hard to take an orchestra [QB performed a pre-Brisbane regional Queensland tour]. But I felt it would take a lot of the magic away [from the main season] so I’m so pleased we found the generosity and the support for this. [Private money was raised so QB could engage St John’s Camerata to play for Giselle.]

I went to these two dear friends of ours from Melbourne, Bruce Parncutt and Robin Campbell, and they said, ‘’we will support you’’. They love the music, they love the ballet, but they really gave me a challenge: “You need to find Queensland-based support. You need to match what [we] give you. So  Philip Bacon, who is a very generous soul, he came forward and said, ‘’I see your vision’’.  He’s passionate about music. It’s a nice fit.

QB, it would appear, has attracted a lot of new money this year, although Li will not elaborate.

I WOULD like to keep that to ourselves for the time being. Let’s say it’s substantial. The government money is really static. But definitely our box office is hitting incredible strides. We’re adding 10 extra shows this year throughout the season, including the Dance Dialogues. But we are definitely on target to sell out all the main seasons. Even with the 10 extra shows. That’s absolutely unprecedented. It’s thrilling. It’s thrilling for our dancers to perform to full houses, to sold-out houses, and for the audiences when they place that kind of faith and enthusiasm in you. But you have to give them quality. [The Giselle season was extended from nine to 12 performances and is sold out.]

A goal was to focus on quality sets and costumes. I really felt particularly for story ballets, and even for contemporary ballets, you’ve got to do it with taste and quality. So again we found these really generous donors to allow us to have a brand new Cinderella, Gerry and Valerie Ryan from Melbourne. Their reason was simple. They said, we didn’t make our money just in Victoria. We made our money nationwide. So this is something we’d like to give to Queensland. They wanted to help me with my vision too.

Another goal was on the business side, the admin side. From marketing to PR to development to education to finance. Every aspect of the company would really have to work together to share the same vision, to strive towards the same goal. Everybody has really risen to the challenge. It’s a paradigm shift in people’s minds. I saw people in development, reception, greeting [guests] on opening night with generosity. I was proud, not only did the dancers shine on stage but the whole organisation took pride in what they did.

Dancer numbers are, not surprisingly for a company of this size and ambition, a concern.

I WOULD like to have more. We have 27 now. We will have 28 by August, so we have one more dancer coming. I can’t talk about it now. Somebody who’s fantastic. We have about 20 pre-professional dancers. This year they are really fantastic. They are a good foundation to build upon. My aspiration from day one, I thought 35 dancers is our goal. That’s the ideal number for us. It will probably take us a few years to get there, but 35, plus around 20 pre-professionals, that gives us 55. Then we can do any size ballets.

At the moment 27 – we do need a few more. We don’t have much room for error. Injuries always happen with this many performances. We work our dancers really hard. [For this reason, at this stage QB does not announce casting ahead of performances. Its small numbers and the casting of dancers in multiple roles can mean, and allow, significant re-arrangements at short notice.]

A way to increase numbers is with guest artists. For the Giselle season the Australian Ballet principal artist Daniel Gaudiello was invited to dance two performances with Rachael Walsh.

I’M really gung-ho about artist exchanges. I think it’s very important. Daniel really wants to work with us. It’s a natural fit. He’s a graduate of QDSE [Queensland Dance School of Excellence] and the pre-professional program. He’s a Queenslander. This is a wonderful connection for him to still have. We can give him … [Li pauses]. He hasn’t danced Albrecht before. He’s very excited.

I’m very picky about who I have dancing with the company, so not just anybody can come in. I’m open about collaboration, but it has to be the right fit. We have three beautiful principal couples, so I want to give our dancers the opportunity first. But Daniel is quite unique in his relationship with Queensland Ballet. I think he and Rachael will be just magic. There’s already wonderful chemistry.

Next year Tamara Rojo, artistic director and prima ballerina of English National Ballet, and the Royal Ballet’s Carlos Acosta, will be guest artists when QB stages Kenneth MacMillan’s Romeo and Juliet – but they will not dancing together.

YOU cannot sentence a smaller company to always do smaller ballets. It’s not fair. We’re going to do this in a very innovative way. I convinced Lady Deborah MacMillan that we are going to do a very high quality production. To have stars like Tamara and Carlos to appear with our own principal dancers, for them to agree to it, was very generous. But they see my vision. It [would be] easy for me to say, you two dance together, you know each other … My idea was always, I want them to dance with our stars. Because that experience will be with our dancers forever. That knowledge is going to carry them for the rest of their lives. To watch Tamara and Carlos dancing [together], it’s not the same.

There are also negotiations with ENB on other collaborations. Can he talk about the exact nature of the relationship?

I CAN’T! But I would like to say I’m so excited. Tamara and I have really built a wonderful rapport and relationship. We share a similar vision and we see it as so important for companies to collaborate. Artist exchanges, coach exchanges, production collaborations. Those are the areas. The reason I can’t tell you is that we still have ongoing discussions. We definitely have a partnership, but on what scale, exactly what will happen, to what extent, we are still in discussions. I would like to stress, ENB will not be the only one. We will be collaborating with other international companies as well. I would like to think we will have a few really closely aligned international partners in the future. It’s exciting. I truly believe in collaboration, in partnership. It will be of enormous mutual benefit.

Could I add another goal? Both [QB chief executive] Anna Marsden and I said on day one we really want to make QB’s image very appealing. I want the company to feel there is a whole refreshed approach, with sex appeal on stage and offstage. I want to be fashionable. I want to say we do quality, but interesting works. That aspiration has permeated to every aspect of the organisation, not just on stage. We are definitely hitting that goal too.

Li Cunxin with senior Queensland Ballet dancers. Photo: Alexia Sinclair

Li Cunxin with senior Queensland Ballet dancers. Photo: Alexia Sinclair

I’m very happy. I am truly proud of how our dancers have performed. To be totally honest, the company is very young. For us to do these full-length story-telling productions – it takes the Royal Ballet and the Bolshoi and ABT [American Ballet Theatre] with 90 to 250 dancers to do these ballets, so for us it’s very ambitious.  Our company has done them very well. There’s always a way to improve. There’s always more experience needed, [but] so there is at ABT, so there is at the Bolshoi. They will never say, that is perfect.

I’ve only taken over total charge since January. Before then I was doing a lot of planning and preparation work and assembling a new team. So it’s really only six months.

Does he ever think he has ambitions for the company that are too great?

Never. No, never.