Lest We Forget, Queensland Ballet

Queensland Performing Arts Centre, July 29.

The Andrews Sisters style is all honey, sunshine and an irresistible life force, even when there’s a touch of wistfulness in the lyrics. No wonder the trio was so popular with US troops during World War II. The silken close harmonies, bouncy syncopations and light-on-the-feet melodies were made to please. They are optimism in a three-minute package.

Paul Taylor’s Company B uses nine of the sisters’ hits that show that in spades. The genius of Company B, though, is in the shadows the choreographer casts. While Brylcreemed young blades and flirty-skirted women whoop it up with infectious vitality there are men who fall, or are seen silhouetted on the periphery in martial poses. These ones melt in and out of the dance like ghosts while around them couples dance as if there were no tomorrow, full of juice and hope and infectious high spirits. I have no idea whether Taylor, now the grand old man of American modern dance, was thinking about contemporary conflicts when he made Company B in 1991, but its premiere at Houston Ballet came shortly after the first Gulf War.

Expressions Dance Company

Laura Hidalgo in Paul Taylor’s Company B. Photo: David Kelly

A song such as There Will Never Be Another You takes on quite a different complexion in Taylor’s context and when at the end of the bravura Boogie Woogie Bugle Boy (of Company B) the soloist collapses to the floor, we think not only of goofily exaggerated exhaustion. This happens again and again, joy undercut by sorrow, until we are back at the beginning with a reprise of Bei Mir Bist du Schön. War never stops, nor do its consequences.

Company B closes Queensland Ballet’s commemorative Lest We Forget program on a strong note, even though the exhilarating mix of contemporary and social dance is delivered a little too carefully overall. Not everyone fully captures the scintillating swing of hips, jaunty shoulders and the effervescence that comes from within. On opening night principal Laura Hidalgo in Rum and Coca-Cola and soloist Camilo Ramos in Oh Johnny, Oh Johnny, Oh! show how it should be done and two less senior dancers – Vanessa Morelli in There Will Never Be Another You and Lima Kim always – were marvelously alert to the music.

Expressions Dance Company

Queensland Ballet in Natalie Weir’s We Who are Left. Photo: David Kelly

The other two works in the triple bill are new company commissions. Natalie Weir’s We Who are Left is perhaps a piece d’occasion rather than a stayer but her aim is true. The melancholy of young men at war and the women who grieve for them is affectingly expressed. The extensive filleting of Benjamin Britten’s 85-minute War Requiem to find not quite 30 minutes of music gives pause for thought but Weir is sensitive to its purpose. The gestures of love, loss and pain feel authentic and the five couples in the first cast did Weir proud, dancing with eloquent simplicity in David Walters’s gorgeous lighting. Principals Clare Morehen and Shane Weurthner were particularly fine in Weir’s delicate, bodies-not-quite-touching duet She Who Was Left.

Ma Cong’s In the Best Moments, which opens the evening, is dominated by a series of pas de deux that manage to be bland and overwrought all at once, with men lifting women in big, tricky manoeuvres that look effortful. The connection with its music, sections from Philip Glass’s score for the film The Hours, is primarily one of busyness. There are lots of notes, lots of steps.

Lest We Forget ends on August 6.

A Midsummer Night’s Dream

Queensland Ballet, Queensland Performing Arts Centre, Brisbane, April 1.

The second act of Liam Scarlett’s A Midsummer Night’s Dream begins with deliciously controlled chaos. At the behest of Oberon, lord of the forest and fairies, Puck has got busy with magic love dust. The result is instantaneous passion for whoever is first seen, complicated by Puck’s tendency to get things wrong. Mayhem ensues as pleasure-seeking mortals, their entourage of bumbling rustics and the fairies whose domain has been invaded dash about trying to make sense of things. Proper order has been disrupted and must be restored, but not before there has been an ample display of foolishness from all quarters.

Scarlett remains entirely faithful to Shakespeare’s comedy, apart from the unsurprising excision of Theseus’s Athenian court. Otherwise it’s all there. Oberon and his queen Titania squabble over a Changeling boy (amusingly clad in a purple onesie and clutching a storybook and a toy donkey), humans enter the forest at night and are captured by its mystery, and Titania is smitten with the low-born Bottom, who has unfortunately gained an ass’s head but is an absolute sweetheart.

Queensland Ballets Midsummer Nights Dream. Laura Hidalgo and Rian Thompson. Photo David Kelly HR

Rian Thompson and Laura Hidalgo in A Midsummer Night’s Dream. Photo: David Kelly

Scarlett, not yet 30, is one of the most sought-after names in classical choreography with commissions from top-drawer companies including New York City Ballet, San Francisco Ballet, English National Ballet and his home base, London’s Royal Ballet. Queensland Ballet’s co-production with Royal New Zealand Ballet (which premiered the work last year) gives these smaller outfits entry into a rather exclusive club. It’s quite a coup and they have a delectable ballet to show for it – one that’s genuinely funny, frequently touching and outstandingly sensual in its movement and visual appeal.

Tracy Grant Lord’s set design provides Scarlett with a sumptuous playground, an ornate multi-level affair that evokes a dense tree canopy and allows the fairies to dart in and out of view, gorgeously bathed in Kendall Smith’s lighting. Puck is established as a creature of the air, spotted at first in a lofty hideaway (he has to shimmy down a pole to reach ground level) and Oberon as an autocrat who likes to survey his domain from on high and whose moods can alter the very atmosphere. When he is angry the stars take notice.

Grant Lord was responsible for the striking costumes too – adorably fluffy tutus in saturated colours for the fairies and sportif day wear for the mortals, who have come equipped with tents, torches, nets and the rustics for backup. They are on a fairy safari. Bless.

Queensland Ballets Midsummer Nights Dream. The Lovers and Rustics. Photo David Kelly

Lovers and rustics in A Midsummer Night’s Dream. Photo: David Kelly

Scarlett fills the forest with rapturous choreography that eloquently describes story and music. (The first thing everyone says about Scarlett is that he is intensely musical.) With their busy arms and feet the fairies indeed look as if they can fly while their swooning (and at one point shivering) backs give a delicious hint of excitements to come. The language is unquestionably classical but Scarlett relaxes ballet’s upright lines with swirling, supple freedom in the upper body that contrasts happily with bright, sharp, ground-skimming footwork. The characters are thrilingly alert and alive. It’s not hard to feel the influence of the Royal Ballet’s founder choreographer, Frederick Ashton, although Scarlett has a confident voice of his own. He certainly hasn’t copied Ashton’s one-act The Dream but there is nevertheless a delicate Ashtonian quality in this ballet.

On opening night QB’s newest principal dancer, Victor Estevez – just 22 years old! – was expansive and commanding as Oberon and Laura Hidalgo’s Titania was light and airy when with Bottom and more sexually charged when with Oberon. The Act II pas deux in which the two make up after their quarrel is stunningly intimate – the sexy little shivers of Titania’s legs as she is entwined with Oberon say it all. Camilo Ramos was a bouncy, highly likeable Puck and Rian Thompson delightful as Bottom. Every fairy and rustic had his or her moment too. This is a ballet made for relatively small forces and a meaningful part for everyone.

Of course the mortals never manage to capture any fairies, those enticing supernatural beings whose presence is known and felt but remains invisible. On opening night Yanela Piñera, Shane Wuerthner, Clare Morehen and Vito Bernasconi were the four high-spirited lovers who leave the forest with their nets empty but their hearts full. Scarlett makes each of them individual and engaging.

A Midsummer Night’s Dream is danced to the much-loved Mendelssohn incidental music for Shakespeare’s play, augmented with selections from other works by the composer to create a full-length ballet. Nigel Gaynor, who conducted Queensland Symphony Orchestra in a spirited performance, stitched it all together admirably. Gaynor and Scarlett chose music that would be, as Gaynor told me in New Zealand, “proportionate to the fairy world”. Oberon dances to the Hebrides Overture of 1830 and, as Gaynor pointed out, it first appeared on the same program as the Overture to a Midsummer Night’s Dream. “It belongs,” he said. Music from the Octet in E-Flat Major – written when Mendelssohn was only 16 – is fittingly given to Puck: Mendelssohn’s sister Fanny wrote of the scherzo that “one feels so near the world of spirits, carried away in the air”.

Gaynor, by the way, was RNZB’s music director when Dream was being created; he now holds the same position with QB. The man who had been QB’s music director and principal conductor from 2013-2015, Andrew Mogrelia, is currently guest conductor at The Australian Ballet, at the helm of most of the performances of Swan Lake. Small world.

A Midsummer Night’s Dream ends in Brisbane on April 16.

A version of this review appeared in The Australian on April 4.

Queensland Ballet’s The Sleeping Beauty

Lyric Theatre, Brisbane, October 23 and October 24

It is something of an understatement to say Greg Horsman knows The Sleeping Beauty well. Not only was it the first ballet he saw, the one that made him want to be a dancer, it was a key role for him. Among the stages on which he performed as Prince Désiré are the Royal Opera House, Covent Garden and St Petersburg’s Mariinsky, where The Sleeping Beauty was brought to life in 1888.

Now ballet master at Queensland Ballet, Horsman has revived the production he created in 2011 for Royal New Zealand Ballet, a company of similar size to QB (he was ballet master there before coming to QB). This Sleeping Beauty isn’t one for the purists given the changes Horsman has made to what is considered the usual text, but it is a highly attractive and satisfying one. The production has an appealing human scale without sacrificing any of its fairy tale magic. The broad strokes of the familiar legend are there, shaped into a narrative that Horsman fills out with many original, felicitous details. It’s not a hugely grand Sleeping Beauty but one that beguiles with its unfailingly clear storytelling – there is quite a lot of mime, all of it instantly legible – and wonderful concentration on character rather than effects.

Alina Cojocaru and Chi Cao in The Sleeping Beauty. Photo: David Kelly

Alina Cojocaru and Chi Cao in The Sleeping Beauty. Photo: David Kelly

Horsman makes a virtue of transforming the ballet for medium-sized forces (QB has 31 dancers at present and eight young artists). The ballet has only one interval and a very brief pause between acts II and III, Horsman excises and conflates characters stylishly, gracefully interweaves the fairies from the Prologue throughout the action, builds up the wicked fairy Carabosse’s role enjoyably and keeps pomp to a minimum. It might seem odd to describe The Sleeping Beauty – the ultimate achievement in Russian Imperial-era ballet – as an intimate experience, but that’s how it felt.

Horsman’s first surprise comes early. The curtain rises on Catalabutte fussing around with the invitations to Aurora’s christening and, guess what? He’s a cat. You shake your head for a moment and then think, well, why not? This isn’t a palace unacquainted with non-humans, as the influx of fairies, sparkling emissaries from the supernatural realm, indicates. It’s lovely how the latter keep turning up, all bright and full of good cheer, to keep an eye on things. Their recurring presence gives the ballet a strong spine.

In a lively piece of characterisation Carabosse is presented as an impossibly glamorous contemporary of the good fairies, the kind of young woman who would have led the pack of mean girls at high school and graduated from university with a higher degree in viciousness. Clare Morehen at the first performance and Eleanor Freeman at the second invested Carabosse with super-model confidence and glossiness with their high-flying jetés and insolent stares. I particularly liked the link-up with the good fairies, all of them holding hands and dancing in unison, as perhaps they once all did in happier days. Carabosse also has quite a trick up her sleeve for later, when the prince fights his way to the sleeping Aurora.

Clare Morehen (centre) as Carabosse. Photo: David Kelly

Clare Morehen (centre) as Carabosse. Photo: David Kelly

I was constantly taken with how carefully Horsman makes sure the world he creates is consistent in tone throughout. The garland dance, for example, is a relaxed affair for a group of young palace gardeners and their girls rather than the entire village putting on a formal show for Aurora’s 16th birthday. The hunt scene is for Prince Désiré, two friends and his tutor only. The Act III wedding dispenses with all the usual fairy tale characters except the cats – yes, that would be Catalabutte and his wife, Lady Florine – and Bluebirds, who arrive in a cage as a wedding gift and are, of course, catnip to Catalabutte, much to the audience’s delight.

It was striking how fresh, individual and lively everyone was, in particular the zesty women. New QB principal, Argentinian-born Laura Hidalgo, was a luscious Bluebird and I would very much like to see her Aurora. At the second performance junior soloist Teri Crilly enchanted with her sparky, darting Bluebird (she was, not surprisingly, in the first cast as the fairy who bestows the gift of Song on Aurora). All the fairies distinguished themselves but special mention goes to soloist Lisa Edwards, the fairy of Beauty in the first cast and fairy of Grace in the second. She has a very appealing aura of calm and mystery.

All Horsman’s inventions sit easily around the traditional set pieces for Aurora, danced on opening night by guest artist Alina Cojocaru. Formerly with The Royal Ballet and now with English National Ballet, Cojocaru is widely considered to be the Aurora of her generation. She radiates light and joy from a tiny body that gives the impression not only of being buoyed by the music but indivisible from it. Her dancing is brilliant, each moment etched with great precision, yet everything feels as if it is the inspiration of that moment. Most potent of all is her warm generosity, seen in abundant, open-hearted gestures and an intense gaze that encompasses the entire theatre. She is an extraordinary artist.

Chi Cao and Alina Cojocaru. Photo: David Kelly

Chi Cao and Alina Cojocaru. Photo: David Kelly

At the second performance QB’s glamorous principal artist Yanela Piñera, formerly with the National Ballet of Cuba, danced Aurora with a similarly bounteous engagement with the audience. I would venture she isn’t perhaps entirely a natural Aurora temperamentally speaking – Piñera has a very sophisticated quality – so Act III was a better fit for her than Act I, although her dancing is very fine indeed. She can achieve a triple pirouette with the lightest of touches, unrushed and unshowy, as a demonstration of delight and wonder rather than display of technique.

Queensland Ballet principal Yanela Pinera as Aurora. Photo: David Kelly

Queensland Ballet principal Yanela Pinera as Aurora. Photo: David Kelly

Guest artist Chi Cao, from Birmingham Royal Ballet, partnered Cojocaru elegantly, although at the second performance I found QB principal Hao Bin a more ardent prince who made more of the awakening kiss, which is given pride of place – far from always being the case – in Gary Harris’s extremely effective set. There are intimations of soaring Gothic arches, a storybook forest for the vision scene and a moveable gazebo that enables the kiss to have the dramatic impact it often lacks. A pity, though, about the very loud clunking when it’s moved about.

QB’s music director-designate Nigel Gaynor conducted the Queensland Symphony Orchestra in a sumptuous performance of Tchaikovsky’s greatest ballet score. The QSO’s playing made one wish we were hearing the whole score, but of course we weren’t. It was cut – but then it always is. Companies always want to bring the ballet in at three hours or less and Horsman, by having only one interval instead of two, manages a brisk two and a half hours.

So Horsman makes the usual nips and tucks (the hunt scene, entr’actes, Act III jewel variations), which isn’t much of a surprise. But his most surprising cut isn’t really to do with length; it’s about that coherent world view for the ballet. Except for a tantalising bar or two, the blazing, magisterial, hymn-like processional on which the ballet usually ends is gone, replaced by music associated with the Lilac Fairy. The usual salute to the splendour of the monarchy – and its continuation through the union of Aurora and Désiré – gives way to a couple in love being blessed by the Lilac Fairy, also called the fairy of Wisdom.

As I say, human scale.

Queensland Ballet’s The Sleeping Beauty ends on October 31.

Highland fling

Playhouse, Queensland Performing Arts Centre, Brisbane, May 20.

IN August Bournonville’s enduringly popular Romantic ballet, a young man dozes by a vast open fireplace and is woken by an apparition, a beautiful winged creature who kisses him. Immediately enraptured, he tries to catch her but she eludes his grasp and, in an effect that never fails to delight, disappears up the chimney but not from his thoughts.

It’s not a propitious start to his wedding day and the omens only get worse.

La Sylphide takes place in two worlds, that of the flesh and that of the spirit, although they are not entirely separate dimensions. While humans go about their cosy domesticity, supernatural forces hover, whisper and pounce. The safety of hearth and home can’t be taken for granted.

James flees the conventional future laid out for him and heads to the forest in search of his sylph and a passionate, magical life that he realises too late is unattainable. La Sylphide is a “be careful what you wish for” cautionary tale, pitting stay-at-home ordinariness against fatal attraction.

Qi Huan as James in La Sylphide. Photo: David Kelly

Qi Huan as James in La Sylphide. Photo: David Kelly

Queensland Ballet performs La Sylphide in Peter Schaufuss’s 1979 production, which is essentially faithful to the familiar Bournonville version with some additions and alterations. Schaufuss upgrades James’s home from a Scottish farmhouse to a manor house and gives him more dancing with an extra brooding solo in Act I and a kind of interior monologue expressed as a pas de trois for James, his bride-to-be Effie and the sylph.

The trio feels unnecessary but at the opening performance there was joy in every second spent on stage by Qi Huan, plucked out of retirement by QB artistic director Li Cunxin to dance James. Qi spent nearly a decade with Royal New Zealand Ballet and now teaches at New Zealand School of Dance.

The singular Bournonville dance language is notable for its intricate footwork and floating levitations. Qi’s astonishing elevation gave him all the time in the world for multiple razor-sharp beaten steps in the air, his double tours – to left as well as right – were landed with exceptional poise and precision and the deep, deep plies Schaufuss favours were plush. Purists would undoubtedly think the latter a distortion of Bournonville stylistic modesty but they were undeniably exciting. Qi acted superbly too. His retreat from the stage is a mystery.

Not all audiences will see Qi, of course, as there are five casts for this 10-performance run. If that seems a lot, it is proof of Li’s desire to stretch as many of his dancers as possible and to challenge them in this lovely, incredibly demanding style. Not that Li was able to cast James five times from within. There is another male guest artist for the season, Luke Schaufuss, a dancer with Birmingham Royal Ballet and Peter Schaufuss’s son. The family affair is taken further: Peter’s daughter Tara dances with Queensland Ballet and while on opening night she was a featured Sylph, she is also cast as the Sylphide.

The QB men cast as James are the company’s only male principal, Hao Bin, and soloists Shane Weurthner and Camilo Ramos, the latter in his first weeks with QB. He, like the company’s new principal artist Yanela Piñera, is from National Ballet of Cuba.

I assume Li would like to get his company to the size and level at which he could confidently cast all the major works from within but that’s not done quickly or easily. It is, however, fascinating to watch the process of company building.

The first performance introduced the glamorous Piñera, who seemed a rather flesh-and-blood Sylphide as did fellow principal Clare Morehen as the Lead Sylph. Both are still feeling their way with the spirit of this radiant style, as is Weurthner, who gave a bit too much as Gurn, the man who loves and finally wins Effie.

Sarah Thompson’s sweetly glowing Effie made a strong impression and it was wonderful to see Mary Li in her element as the witch Madge, engineering James’s downfall with scarily cheerful, robust malevolence.

Some muddy horns aside, Queensland Symphony Orchestra played the Herman Lovenskjold score with verve for conductor Andrew Mogrelia, whose pacing and shaping of the overture vividly established the ballet’s quicksilver mood and themes.

La Sylphide ends on March 31.

A version of this review appeared in The Australian on March 24.

Kusch joins the AB; Cubans come to Brisbane

AS I foreshadowed on December 15 on my Diary page, Queensland Ballet has lost one of its principal artists, Natasha Kusch, to The Australian Ballet. Kusch was with QB for less than 18 months after leaving the Vienna State Opera Ballet. She joins the AB as a senior artist. In a press statement released today the AB says Kusch will make her debut as Giselle when Maina Gielgud’s production opens in Melbourne in March.

Kusch is pictured here as Juliet with Australian superstar Steven McRae, who was a guest artist from the Royal Ballet when QB staged Kenneth MacMillan’s Romeo and Juliet last year.

Natasha Kusch and Steven McRae in Romeo and Juliet

Natasha Kusch and Steven McRae in Romeo and Juliet

There is significant movement at several of the country’s leading dance companies, but none more striking than at QB. It’s possible to interpret Kusch’s move as something that could create tension between QB’s artistic director Li Cunxin and the AB’s David McAllister (the two, of course, danced together at the AB) but it also points to how greatly Li has increased QB’s strength and visibility.

And Li was able to bury news of Kusch’s departure in an early-December press release. The big announcement he had to trumpet was the hiring of two dancers from the National Ballet of Cuba – premier Yanela Piñera and principal Camilo Ramos (the top two ranks at NBC).

As I wrote on my Diary page at the time, the pair, partners in life, join at the end of this month. Piñera joined NBC in 2005 and was promoted to premier dancer in 2011. She would have gained some knowledge of Brisbane when NBC visited in 2010. Unfortunately she wasn’t in the opening night cast of Don Quixote so I haven’t seen her dance live but there are, naturally, many clips on YouTube. It will be fascinating to see how the Cubans fit into the QB repertoire for next year – La Sylphide, Coppelia, Trey McIntyre’s Peter Pan and The Sleeping Beauty.

The QB press release said Piñera’s position would exist under Queensland Ballet’s International Guest Artist program, funded by the Jani Haenke Charitable Trust, but Li told me that Piñera will be a full-time principal – her position is not apparently like that of Huang Junshuang, who for two years was QB’s very welcome guest principal but not permanently with the company.

Further down the press release was news of comparable interest, the retirement of incredibly valuable principal Matthew Lawrence and long-serving soloist Nathan Scicluna. However, with the arrival of Piñera to join principals Hao Bin, Clare Morehen and Meng Ningning and with Ramos joining soloists Lisa Edwards and Shane Wuerthner (an American who joined QB last year), the senior ranks are close to full strength.

West Australian Ballet is seeking a new senior man after the announcement that soloist Daniel Roberts has joined Sydney Dance Company, where there have been extensive changes in the 16-member troupe. Chloe Leong, Josephine Weise and Sam Young-Wright have also joined and former member Richard Cilli has returned. Leaving are Chen Wen, Tom Bradley and Jessica Thompson, while Chris Aubrey is taken a year’s sabbatical. Company member Petros Treklis joined only last year.

Lee Johnston is SDC’s new rehearsal director.

Bangarra Dance Theatre also announced the return of two former dancers who left last year but are now back in the fold – and it’s very good news. Deborah Brown and Daniel Riley, both of whom also choreograph, are back with the company.

The AB also has three new junior dancers, coryphée Nicola Curry, who was formerly with American Ballet Theatre, and corps members Shaun Andrews and Callum Linnane, who are Australian Ballet School graduates.

West Australian Ballet opens its 2015 season with Zip Zap Zoom: Ballet at the Quarry, Perth, from February 6; The Australian Ballet’s 2015 season starts in Sydney with Graeme Murphy’s Swan Lake from February 20 and Giselle opens in Melbourne on March 13; Sydney Dance Company opens Frame of Mind in Sydney on March 6; Queensland Ballet’s La Sylphide opens in Brisbane on March 20; Bangarra’s Lore opens in Sydney on June 11 and before then the company works on a film of Spear, based onStephen Page’s wonderful 2000 work of that name, which will premiere at the Adelaide Film Festival in October.

Daring smoke-and-mirrors act

Queensland Ballet, Playhouse, QPAC, Brisbane, August 1.

ONE masterwork, a party piece and two relatively new dances that look far better than they are provide an entertaining but creatively uneven program at Queensland Ballet. Very much on the plus side is that the company looks energised despite the rigours of the Romeo and Juliet season that ended only four weeks ago. Very much on the down side is that Flourish, as this quadruple bill is titled, is performed without live music. Everyone is ill-served: Tchaikovsky, Cesare Pugni, Philip Glass, Ravel, the audience and particularly the dancers.

Katherine Rooke (top), Emilio Pavan and Meng Ningning in Serenade. Photo: David Kelly

Katherine Rooke (top), Emilio Pavan and Meng Ningning in Serenade. Photo: David Kelly

It’s not that QB is penny-pinching in this regard. It’s that the company has ambitions it can’t entirely afford at the moment. Mind you, it’s not clear who could play for QB at this time of the year. On the last night of Flourish (August 9), Queensland Symphony Orchestra is in the Concert Hall at QPAC playing Berlioz, Sibelius and a world premiere of a commissioned score, Gordon Hamilton’s Ghosts in the Orchestra. QB has also worked several times with the chamber orchestra Camerata of St John’s, which at present is in Townsville for that city’s annual chamber music festival.

Nevertheless, QB is charging forward in a way one has to admire even while wincing at George Balanchine’s Serenade – the masterwork of the evening – being performed to a recording. It didn’t help that the sound system emitted a nasty burst of static at one point. Rather ironically, on August 1, while QB was dancing to Tchaikovsky’s Serenade for Strings, up in Townsville the Camerata was also playing Serenade for Strings, although this one by Dvorak. The Tchaikovsky would have been too, too cruel.

Serenade (1934) is the first Balanchine to be acquired by QB and the company acquitted itself well. On opening night Meng Ningning, whose triumph as Juliet seems to have released her, was a romantic, eloquent Waltz Girl and Lina Kim’s Russian Girl was poised and distinguished by pillowy elevation. Katherine Rooke started a little nervously as the Dark Angel but there is promise in those sometimes unruly, coltish limbs. The large ensemble of women, filled out with Young Artists and Pre-Professional Program dancers, was not entirely as one stylistically (Balanchine mastery is not achieved in a moment) but their commitment was total. Matthew Lawrence and Emilio Pavan were strong and sensitive in support.

After Serenade came Flourish’s party piece, the grand pas de deux from La Esmeralda (to Pugni’s music), choreographed by Ben Stevenson after Petipa. It gave long-serving QB dancer Teri Crilly a much-deserved chance to shine alongside diminutive but powerful guest artist Dmitry Zagrebin from Moscow’s Stanislavsky Ballet. The two were a lovely match – sunny, flirty and carrying off the technical fireworks with self-possession without being self-regarding. Utterly charming.

Nils Christe’s Short Dialogues (created for QB in 2011 to the music of Glass) and Nicolo Fonte’s Bolero (2008), to the famous Ravel score, are negligible works in the glossy, sexy, crowd-pleasing vein. The choreographers are both big names in the field but both have better works in their portfolio. I would have been very pleased, for instance, to see again Christe’s Fearful Symmetries, staged at QB in 2010.

Short Dialogues has three couples entering and leaving the stage through gloom and haze – the process is reminiscent of Twyla Tharp’s In the Upper Room – in a manner that appears meaningful about relationships but has little to say. Clare Morehen with Keian Langdon, Lina Kim with Matthew Lawrence and Meng Ningning with Alexander Idaszak looked wonderful but the work failed to register with me. (Kim, incidentally, impresses more and more with each outing.)

Bolero is surprisingly blank despite the propulsive music and, again, splendid dancing. Clare Morehen (in both works) and Natasha Kusch (Bolero) were magnetic and it was a treat to see former QB principal artist Langdon return as a guest for Short Dialogues.

Indeed, guests were absolutely necessary on the night, an indication of QB artistic director Li Cunxin’s daring smoke-and-mirrors act. He wants to present work that needs many more dancers than QB has at the moment. The MacMillan Romeo and Juliet showed that in the most emphatic way, but Flourish also sends the message, albeit a little more quietly. Li wants to show what is possible and he is pushing very hard to make the case.

Serenade needs 20 women. With the retirement of principal Rachael Walsh at the end of the Romeo and Juliet season there are only 25 full company members and eight Young Artists, of whom 18 are women. Hence the use of Pre-Professional Program dancers – that is, students – in Serenade. (Incidentallly, Walsh was repetiteur on Short Dialogues, so she has already started the next phase of her career.)

In addition, there is a shortage of senior men, which is why there were no fewer than three male guest artists at the Flourish opening – Zagrebin, Langdon and Idaszak, back after a short stint with Royal New Zealand Ballet, and working as a guest with QB, his former company. QB’s international guest principal Huang Junshuang is not in the country at the moment and principal Hao Bin is injured. That leaves Matthew Lawrence to fly the flag for the company’s principal men.

The margin of error is tiny. Lawrence will need to keep very fit.

Flourish ends August 9.

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.

Coppelia

Queensland Ballet, Brisbane, April 24

GREG Horsman’s appealing new production of the 19th century comedy Coppelia gives it a human scale and an Australian setting. It is the late 1800s and we are in the South Australian town of Hahndorf, settled in 1839 by German migrants and thus celebrating its 175th anniversary this year. I don’t think Queensland Ballet has a visit to Hahndorf on the 2014 schedule but it really should.

The essentials of the original ballet remain. Franz, not the brightest bloke, falls for a remote beauty who is, in fact, a life-sized mechanical doll. His sidelined girlfriend, the plucky Swanilda, has to come to his rescue when he falls into the clutches of the man who made the doll, Dr Coppelius, and in the third act everything comes right.

Clare Morehen and Huant Junshuang in Queensland Ballet's Coppelia.

Clare Morehen and Huang Junshuang in Queensland Ballet’s Coppelia.

In Horsman’s revision Dr Coppelius (the wonderful Paul Boyd) is a migrant from the Old World, a medical man rather than a dark-hearted magician. In a prologue that mixes stage action and effective sepia animations, Coppelius and his young daughter are seen preparing to leave their home in Germany. But the girl is sickly and dies on the sea voyage to Australia. Coppelius’s doll-making is an attempt to restore her to him.

Meanwhile the little town goes about its business, which mainly involves lots of larking about to the pretty Delibes score, neatly arranged by QB’s music director Andrew Mogrelia and played by Camerata of St John’s. The good folk of Hahndorf are a lively lot – there are some rather cheeky Scots – but even the Lutherans don’t seem to mind a bit of banter. If I were queen of the world, however, I would place a ban on children holding hands and prancing about in a circle. Surely there are other ways in which youngsters can move.

Horsman’s push towards realism, or as far as you can go when lifelike dolls are involved, has its pluses and minuses. In setting up his story Horsman takes a little time to get the action moving but he does build a pleasing picture of community and individuals within in it. In his sweetest inspiration he brings on the local footy team – Australian football, of course. Some of the QB lads need to work on their handpass skills and on opening night the Sherrin was definitely too soft for an effective bounce, but the audience enthusiastically applauded a high mark. Yes, in Brisbane.

The downside is a lack of magic in the second act, in which the usual cave of wonders is reduced to a couple of half-finished automatons. It fits Horsman’s scenario but is far from a sparkling setting for Swanilda’s centrepiece impersonation of Coppelius’s doll.

For key moments – including Swanilda’s solos and the big Act III pas de deux – Horsman has kept choreography familiar from traditional versions and at the opening performance Clare Morehen (Swanilda) and Huang Junshuang (Franz) despatched the high points with ease and verve. Eleanor Freeman and Vito Bernasconi lit up the stage as the second pair of lovers and Lina Kim’s joyous dancing delighted every time she appeared with Swanilda’s flock of girlfriends.

Also delightful are Hugh Colman’s sets, which bring to mind colonial paintings (Louis Buvelot perhaps), and Jon Buswell’s exquisite lighting, in which bright day fades to velvety evening. This kind of quality is possible because in a venture that makes a great deal of sense, Coppelia is a co-production between QB and West Australian Ballet. Perth will see the ballet next year. Expect the footy to go down extremely well indeed.

Coppelia ends on May 10.

A version of this review appeared in The Australian on April 28.

QB Nutcracker; David Hallberg at the AB

The Nutcracker, Queensland Ballet, Playhouse, QPAC, Brisbane, December 7

Cinderella, The Australian Ballet, Sydney Opera House, Sydney, December 14

IN many places in the northern hemisphere, but particularly in the US, seeing The Nutcracker at Christmas is as necessary as having gifts and dressing a tree. There’s another necessity too: so popular has The Nutcracker become that it keeps many a ballet company afloat financially. In Australia’s snow-free summers The Nutcracker has had no purchase as an annual event, although The Australian Ballet will present Peter Wright’s Birmingham Royal Ballet production next year, four years after its last outing.

Eleanor Freeman and Emilio Pavan in The Nutcracker

Eleanor Freeman and Emilio Pavan in The Nutcracker

Brisbane, however, is promised its own Nutcracker tradition, starting right now. Queensland Ballet artistic director Li Cunxin is banking on his audience coming back every December to see Ben Stevenson’s version, and if the response from two audiences on the first Saturday of the season is a guide, his instincts remain acute. In choosing a production that involves large numbers of young children, Li is giving Brisbane dance students something special to aspire to, and on a pragmatic note, there will always be friends and family who want to see them perform. This year’s season extended to 17 sold-out performances.

Stevenson’s approach to The Nutcracker is straightforward, although bumpy in one or two spots. The Stahlbaum family is having a lively Christmas party at which Dr Drosselmeyer performs a few magic tricks and Clara, a girl who is not quite grown-up but more than a child, receives a nutcracker doll as a gift. Her brother, Fritz, who appears to have a rather dismaying affection for his toy rifle, rattles around the place boisterously, life-size Soldier, Nurse, Harlequin and Columbine dolls perform and older folk fuss about and do a few steps. At the evening’s end Clara falls asleep, dreams of her doll coming to life, and is swept into a world of pesky rats, brave soldiers, a handsome Prince and a journey through the snow to a land where everything is sweet and the Sugar Plum Fairy holds radiant sway.

One could wish for a larger company of rats – unusually they are on pointe – and soldiers to do battle with one another but otherwise QB’s relatively small forces fill the stage admirably at the party, as snowflakes at the end of Act I and in the usual set of Act II dances.

The grand pas de deux for Prince and Sugar Plum Fairy was danced with much brilliance at the first Saturday matinee by QB’s newest principal artist, Natasha Kusch, and guest artist Remi Wortmeyer. Wortmeyer was previously with the AB (big loss) and is now a highly admired principal with Dutch National Ballet. Kusch and Wortmeyer were exceptionally well matched for purity of line and sparkling detail. Kusch glittered with the hard-edged brilliance of diamonds but also filled the music sumptuously – a gorgeous combination. Wortmeyer’s dancing was plush, buoyant and joyous, qualities that papered over the fact that once the Nutcracker doll turns into the handsome Prince, he essentially discards Clara for more glamorous partners.

As the first Saturday night’s Suger Plum Fairy, Clare Morehen radiated beauty, calm and benevolence, which doubtless helped her young and inexperienced Prince greatly. Emilio Pavan is another of Li’s bright young men being fast-tracked to important roles and looks most promising. He danced cleanly, forcefully and with becoming modesty.

Stevenson provides a second ballerina role, that of the Snow Queen, danced at both Saturday performances by Meng Ningning in magisterial form. The Prince gets to partner her too, which sidelines Clara at a crucial part in her journey. Furthermore, the Prince is given a bravura solo to the children’s wordless chorus that couldn’t suit the music less.

Still, once Clara finds herself in the Kingdom of Sweets she is given appropriate honour, although not a great deal of dancing. It was pleasing to see the keen intelligence and warmth of Lina Kim (afternoon) and engaging exuberance of Teri Crilly (evening) in the role.

As for the disparate Act II dances, who knew the Arabian could be such a hit? It usually seems interminable, but as danced very strongly and sexily by Mia Thompson and Alexander Idaszak on Saturday afternoon it had the crowd cheering. Sarah Thompson and Nathan Scicluna got a similar reception in the evening. It was also a relief to see the Chinese dance done with acrobatic and martial inflections rather than embarrassing foot shuffling and head nodding.

Stevenson’s ballet is perhaps more workmanlike than thrilling, particularly when sections of choreography are irritatingly antithetical to the music. But the key moments are lovely, the production looks handsome and the Queensland Symphony Orchestra is on hand for Tchaikovsky’s imperishable score, conducted by Andrew Mogrelia.

What does an annual Nutcracker mean for the QB repertoire as a whole? Unless the company manages to increase radically in size (in The Nutcracker company members have to assume several roles), one assumes it means one less new mainstage production each year. This year the QB performed three new full-length works in Brisbane – Giselle, Cinderella and The Nutcracker – as well as a contemporary program and two studio seasons. Next year there’s a new Coppelia, the Kenneth MacMillan Romeo & Juliet and the Nutcracker repeat. There’s also a regional tour of Cinderella as well as the programs of contemporary and new work.

Li may well feel that two new full-length programs is quite enough to have on the plate with the QB’s other responsibilities, not to mention the cost of new work. He will ultimately be able to bring his new Giselle, Cinderella and Coppelia back into the mix, but not for a couple of years. I believe he will be staging La fille mal gardee – the production West Australian Ballet is premiering next year – in 2015, so that’s another story ballet to add to the list. The Nutcracker, meanwhile, will be bedded in and paying itself off.

I note that while there are 17 performances of The Nutcracker this year, there are just nine performances listed for 2014. There’s also room to add shows if those sell out, but at the moment the approach is a reasonably conservative one. Clever planning, I think you’d have to say.

Ends December 21. All performances are sold out, returns only. There is a free outdoor screening on December 21 at River Quay, South Bank, Brisbane, 7.30pm.

David Hallberg at the Sydney Opera House. Photo: Wendell Teodoro

David Hallberg at the Sydney Opera House. Photo: Wendell Teodoro

DAVID Hallberg is not only a prince among men in ballet; he is a prince among princes. On Saturday night, in his final performance of three as the Prince in The Australian Ballet’s Cinderella, he was in his element. That is to say, he wore the dramatic requirements of the role like a second skin and was at one with Alexei Ratmansky’s choreography, which asks for an entrancing combination of a luscious, yielding upper body and a swift, razor-sharp lower body.

Hallberg understands that regal comportment is an inner quality; there is no need for arrogant display or overt signs of command. Thus, this Prince wore his nobility lightly, unpretentious in manner and alert to those around him. His ardour for Amber Scott’s Cinderella – lacy, glowing, ultra-romantic – felt deep and true. Every moment seemed fresh and unforced.

The clarity and refinement of Hallberg’s technique are wonders, and have brought him to the pinnacle of not one but two great ballet companies – he is a principal artist with American Ballet Theatre and the Bolshoi Ballet. How fortunate the AB has been to have him as a guest twice (Hallberg danced in Melbourne in the Wright Nutcracker in 2010, before joining the Bolshoi, and would have appeared at the AB’s 50th anniversary gala except for injury). Let’s hope there’s more.

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.