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.

Giselle

Queensland Ballet, Playhouse Theatre, Brisbane, June 21 and 22

BRISBANE is turning into quite the ballet town. All performances of the Bolshoi Ballet’s Le Corsaire and The Bright Stream were sold out and one might have expected the visit from such a starry company to have diverted dollars from the Queensland Ballet. Far from it. QB was able to put on extra performances of its year’s mainstage opener, Cinderella, and Giselle also has more performances than originally planned and is heading for a sell-out season.

Rachael Walsh and Matthew Lawrence in Queensland Ballet's Giselle. Photo: David Kelly

Rachael Walsh and Matthew Lawrence in Queensland Ballet’s Giselle. Photo: David Kelly

It was clear from reactions at the first three performances of Giselle that many in the audience were unfamiliar with it, despite its place in the canon. It was also clear by the end of all three shows that people were delighted with what they saw, and so they should have been. QB has a fine production, staged with great integrity and care by Ai-Gul Gaisina (it is based on Petipa’s revivals of the Coralli/Perrot choreography) and boasting some outstanding dancing. Gaisina clearly allowed each cast to find its own way into the key roles while honouring the ballet’s floating, romantic style. It was also extremely satisfying to see the attention paid to mime, here done in a lucid, unaffected way.

The challenge new artistic director Li Cunxin has set himself can’t be underestimated. He has a company numbering only 27 dancers, although he also has access to about 20 young dancers in the QB pre-professional program.

Not only that, there is a high proportion of new dancers. When Li held auditions late last year he greatly admired quite a few dancers from the Australian Ballet School’s graduating year. Half the company has been dancing professionally for only six months, and a handful more for only a couple of years.

Li did bring in two new principal artists, former Australian Ballet and Birmingham Royal Ballet principal Matthew Lawrence, and Huang Junshuang, latterly of Houston Ballet, to beef up the upper end of the ranks. (Huang is listed as a guest international principal artist and his position is funded by private support; it was announced at the Giselle opening night party that this will continue next year.) The mid-tier was thinly populated and still is, although the recent and extremely well-deserved elevation of Lisa Edwards to the rank of soloist is a start in the building process.

It was an impressive feat, then, to be able to field three strong casts, one of them with a wild card in the shape of 20-year-old Alexander Idaszak, making his debut as Albrecht. Idaszak is one of the newbies half a year into his first job so it was a bold move to cast him, but with principal Hao Bin out of contention for Albrecht due to injury it was decided to take the gamble. Idaszak seemed not the slightest fazed by the assignment. Sure, he looks about 12 1/2 – an unusually well-built 12 1/2 – but he took to the stage with impressive aplomb. There were, not surprisingly, some rough patches but Idaszak has noble bearing, excellent form – his Act II cabrioles were crackers – and his partnering is a credit to his ABS teachers.

Clare Morehen and Alexander Idaszak. Photo: Daivd Kelly

Clare Morehen and Alexander Idaszak. Photo: Daivd Kelly

He made a pretty good fist of the acting, too. Sensible choices were made: his Albrecht isn’t a cheating aristo cad; he’s just a puppyish kid who needs to marry well but is looking for love elsewhere. In this scenario it was quite right that his betrothed, Bathilde (Mia Thompson), was a condescending bitch and that Huang’s Hilarion (no chance of principal artists having too many rest days at QB; he was Albrecht only 18 hours earlier) was a tough, mature man.

At this Saturday matinee performance Idaszak was partnered with one of QB’s most vibrant and individual dancers. Clare Morehen was a lively, sunny Giselle, the kind for whom spreading her skirt on the small outdoors bench is a cheeky bit of flirtation rather than a protective move. She was engagingly wide-eyed in Bathilde’s presence but brought a glint of steel to Act II’s mysterious, moonlit world of the Wilis. Peter Cazalet’s set design and Ben Hughes’s lighting came into their own here after a perfectly correct but unexceptional Act I.

Friday’s opening came with added, unwanted drama when Meng Ningning injured her left foot badly early in the first act. Few would have realised, particularly as she beautifully negotiated the diagonal of hops on pointe – on her left foot. Meng danced on to the end of the first half, hiding her pain to play a girl of heartbreaking innocence and trust.  No wonder she looked so believably ill when her heart first starts to give way and so distraught in the mad scene that ends Act I.

With Meng unable to continue – and I would have loved to see her Act II; she is such an ethereal dancer – elegant Huang was out of the picture as Albrecht. Fellow principal artists Rachael Walsh and Matthew Lawrence stepped seamlessly into the breach to give a glowing account of the second act. Walsh had been sitting in the audience watching the first half; Lawrence had appeared in the Act I non-dancing role of the Duke of Courland.

Their full scheduled performance on Saturday night revealed Lawrence as a practised and charming lothario and Walsh as meltingly sweet. Walsh has a pre-Raphaelite face and adagio to die for, controlling the slowest of slow raises of her leg as if gravity were somehow banished for the moment. Lawrence’s high and handsome series of entrechats – the tight beaten steps Albrecht is forced to do unto death until he’s saved by the bell and the breaking dawn– were brilliantly executed on both Friday and Saturday. In this cast Vito Bernasconi played Hilarion as a good lad possibly not possessed of the quickest mind – a strong contrast with Lawrence’s savoir faire. In the first cast, Nathan Scicluna gave the gamekeeper a thoughtful, deep-hearted quality that was most attractive.

Daniel Gaudiello, a guest artist from the Australian Ballet, puts a fourth Albrecht into the mix and his two performances  with Walsh promise much. He is an immaculate artist making his role debut here, which makes it one for the diary.

Two dancers distinguished themselves greatly as Myrtha, Queen of the Wilis. Lisa Edwards, seen on Friday and Saturday evening, has greatly grown in authority of late and demonstrated a commanding presence and gaze and wonderful elevation. Eleanor Freeman’s expressive use of her upper body at the Saturday matinee was magical.

The peasant pas de huit is the most problematic element. It spreads the load of what is frequently done as a pas de deux but exposes some weaknesses in style, unity and quality. Some of the women had not absorbed all the nuances of soft, rounded romantic mode and eloquent epaulement but the group of 12 wilis really came into their own with strikingly precise alighment and immaculately timed turns and gestures in their confrontations with Hilarion and Albrecht. Superb. Of the lead wilis I most enjoyed Eleanor Freeman’s other-worldly lightness and demeanour.

QB had originally planned to perform Giselle to taped music for budgetary reasons but was able to secure private support to engage Camerata of St John’s for the season. Adolphe Adam’s score was arranged for this quite small force – only 26 musicians – and QB music director Andrew Mogrelia drew performances that improved markedly from show to show. While there were still too many glitches from the brass and, to a lesser extent, the woodwinds, it was a fair start to what may be a continuing relationship. (Alas the July 6 performances will be performed to recorded music.)

After his Saturday matinee Idaszak was considerately taken out of the evening’s pas de huit, as I was told before the performance began. Given a well-deserved rest, I thought.  No, he was just doing the less demanding background stuff in the first act. That’s what happens in a small company:  lots of hard work, the need to keep ego well in check – and fantastic opportunities for those who are ready to grab them.

Giselle continues until July 6. Daniel Gaudiello appears as Albrecht with Rachael Walsh as Giselle on June 27 and July 4. Other casting has not been released.

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

Cinderella

Queensland Ballet, Queensland Performing Arts Centre, April 5

QUEENSLAND Ballet’s ambitious Cinderella has much to say about what new artistic director Li Cunxin wants for his company and a little something to say about Li himself.

Meng Ningning and Hao Bin in Cinderella. Photo David Kelly

Meng Ningning and Hao Bin in Cinderella. Photo David Kelly

Li’s story is well known. He was plucked from deepest obscurity in rural China to be trained in ballet and then defected to the West. There he was taken under the wing of Ben Stevenson at Houston Ballet where one of the first productions he saw – Li says it was the first that touched him – was Stevenson’s Cinderella, a story ballet created in 1970 in the classical style.

Li wants to make that style the bedrock of his QB and doubtless he can identify with a rags-to-riches transformation set in train by magical intervention. Cinderella is therefore a touching choice for QB’s first mainstage production under Li’s direction and has the advantage of being something of a rarity: a full-length romantic piece with instant name recognition that hasn’t been done to death.

Brisbane has bought into it with gusto: the extended season is sold out and a vast store of goodwill for Li was evident on opening night. The production was greeted with a standing ovation, and Li seems to have secured corporate and private funding on a new level for QB’s work. The Queensland Premier, Campbell Newman, was in the first-night audience, as were four government ministers. Important friends travelled to Brisbane for the occasion.

Sounding uncharacteristically nervous, Li spoke to the audience on April 5 before the curtain went up at Queensland Performing Arts Centre’s Playhouse and said – to mighty cheers – that Cinderella had broken a 53-year sales record. He added that he wanted to tour this production around Australia and internationally. On a personal note, he said that Ben Stevenson had made him what he became.

It was, therefore, an incredibly highly charged evening for Li, who would have been thrilled with the reception. The opening night audience lustily acclaimed a production that the company has invested so much in, financially and emotionally.

Yu Hui as the Jester in Ben Stevenson's Cinderella. Photo: David Kelly

Yu Hui as the Jester in Ben Stevenson’s Cinderella. Photo: David Kelly

QB commissioned lovely new sets and costumes (by Thomas Boyd and Tracy Grant Lord respectively) for Stevenson’s production and it looks pretty as a picture book. The interior of the cheerless home where Cinderella lives with her dysfunctional family dissolves swiftly into the light and airy realm of the Fairy Godmother. The Prince’s ballroom is perhaps somewhat less opulent than possible, but serviceable.

Underneath the attractive makeover, however, are several disappointing flaws. The story-telling is often perfunctory and sometimes muddled and a lumpy structure makes room for lengthy swaths of dance but rushes over key matters of character and nuance. As with Frederick Ashton’s influential version of the ballet, Cinderella’s step-sisters are played, panto-style, by men. As in Ashton’s version they are the most vividly realised and memorable figures, diverting attention from what should surely be the unwavering impulse and glowing centre of the work: to celebrate virtue. The balance is out of kilter. (When Cinderella, at the ball, gives her orange to a step-sister who has missed out, the emphasis in this production isn’t on the generous gesture but rather the comedy of the step-sister’s dimness at sort-of but not quite recognising Cinderella in this setting.)

Not only that, if one is to acknowledge the primacy of virtue, there must be darkness to overcome. Prokofiev’s wonderful score explicitly says that, but Stevenson – as Ashton before him – chose to underplay that conflict. The pain of the lost mother registers only fleetingly, the step-mother is a cardboard figure and the father is Mr Cellophane.

Towards the end of the first act there is a series of dances depicting the seasons, each designed to have a very particular flavour, although in Stevenson’s choregraphy there isn’t quite enough differentiation. Why does the Fairy Godmother introduce fairies who illustrate the seasons to Cinderella? Surely it is to show her the passage of time in action, as time is crucial to this story. But more than that, it speaks of mortality. Not for nothing do the dances start with Spring, the season of life-giving, and end with Winter. Well, it should be not for nothing.

On opening Cinderella’s step-sisters were danced by new principal artist Matthew Lawrence and guest Paul Boyd. They were sweetly silly and self-regarding rather than vicious, which is presumably why Cinderella felt free to whack them around a bit with her broom. So it was a huge mystery why Cinders should shortly after be presented as a reluctant, almost cowering figure when the Prince came calling with the shoe; a shoe that matched the one she pulled from her skirt pocket with some radiance not moments before. The sisters’ and step-mother’s capitulation to Cinderella at that point was thrown away, just one example of how the production skates over the darker threads of the tale for a generalised feel-good display.

At the first performance the main pleasure came from two sources, the music and the luxurious quality of dancing from the leads. QB’s music director and chief conductor Andrew Mogrelia presided over a reduced Queensland Symphony that sounded anything but diminished in the Playhouse’s small pit. The score, lovingly played, repays close attention. Onstage, Clare Morehen (Fairy Godmother) radiated calm, grace and benevolence while Yu Hui gave the Jester’s generic acrobatics real sparkle and charm. He made light work of all those turns with tucked legs, high-flying splits, cartwheels and jauntily angled arms and legs.

Meng Ningning (Cinderella) and Hao Bin (the Prince) are QB’s reigning classicists and their purity of line, unmannered style and understated assurance are undoubtedly Li’s desired benchmark for the company. Both were trained in Beijing, as Li was so many years ago. Hao is a danseur noble who, in Cinderella, has nothing to do but look aristocratic. An easy task for this handsome, elegant man. Meng was more comfortable in the serene set pieces in the ballroom than when trying to make sense of Cinderella’s nature and feelings, for which it’s hard to blame her. Meng looked ethereal in her glittering pink tutu and danced impeccably.

Li, by the way, isn’t stacking QB with Chinese dancers even if his predilection is for their style of performance. Meng and Hao were hired by his predecessor, Francois Klaus, as was Yu, who was initially trained in China and then at New Zealand School of Dance. The new position of guest international principal is this year held by Huang Junshuang, who was trained in Shanghai and danced with Guangzhou Ballet Company, but was also a principal artist with Houston Ballet.

Those who watch QB closely will know that the present company line-up is significantly different from last year’s. There has been a big turnover: of the QB’s 27 permanent dancers, 11 are new this year. Of that 11, no fewer than nine came to QB straight from training. In other words, fully one third of the company is as junior as they come. A further five dancers joined the company in 2011 after being trainees, so Li has the opportunity to shape these young men and women in exactly the way he wants.

This situation puts a big workload on the senior dancers, but such is the way of smaller companies. (By comparison the Australian Ballet currently has 70 dancers on its roster.) There are three principal casts for Cinderella, but that doesn’t mean too many nights off for the top-ranked dancers. Lawrence and Hao are both cast as the Prince and Tall Stepsister and Hao is also listed as appearing in the small role of Father; each Cinderella – Meng, Rachael Walsh and Clare Morehen – has a second role. Yu, a soloist, is also cast as Short Stepsister. QB’s only other soloist, Nathan Scicluna, is second-cast Short Stepsister but was spotted on opening night filling out the ranks of dancers at the Prince’s second-act ball.

The corps was augmented with students from QB’s Pre-Professional Program, Junior Program and Queensland Dance School of Excellence, and it did one’s heart good to see the glowing pride on the faces of the young girls who appeared briefly as attendants at the union of Cinderella to her Prince.

It was also heartening to get the sense that the Brisbane audience was personally invested in the production and the company. I haven’t seen a more excited and proud set of people at the ballet – any ballet – for a very long time.

The Queensland Ballet’s Cinderella continues until April 20.

This is an extended version of a review that appeared in The Australian on April 8.