Francesco Ventriglia and Royal New Zealand Ballet

A year into his artistic directorship, Francesco Ventriglia talks about his goals for Royal New Zealand Ballet and his first program for the company

 “My life is where I can have a theatre, where I can have dancers, where I can have a space to express my creativity. I don’t care if it’s Milan or Florence or Wellington or New York.”

Not everyone would mention Wellington, New Zealand, in the same breath as New York and Milan, but Francesco Ventriglia is more than happy to. And why not? We’re sitting in one of the New Zealand capital’s fine restaurants, drinking excellent local wine and talking, amongst other things, about the impending Royal New Zealand Ballet’s world premiere of Liam Scarlett’s A Midsummer Night’s Dream. (It opened in late August.) Life is good.

Francesco Ventriglia, Royal New Zealand Ballet artistic director. Photo: Stephen A’Court

Francesco Ventriglia, RNZB’s artistic director. Photo: Stephen A’Court

Then there are all the things he wants to do as the company’s newest artistic director, a position he took up late last year after former American Ballet Theatre star Ethan Stiefel decided to return to the US after three years at the helm. Even when seated Ventriglia throws out megawatts of energy, face alight with enthusiasm and wreathed in smiles. He talks a million to the dozen in charmingly accented English which he says is improving but is already excellent – not entirely idiomatic, to be sure, but pouring out fluently and vividly. (“I feel more comfortable now, even with the Kiwi accent, which is a little bit different,” he says.)

Essentially it comes down to this. When he arrived in New Zealand he was warmly welcomed. People liked his outgoing nature and his vibrant optimism. “They like me and I really like them. I try to put things on the table in a very honest way, no strategy. I am what I am, I’m here. We can work and make the future. Everyone gives me the space to do that. So I feel free.”

Lucy Green, an Australian dancer with the company, says Ventriglia is very passionate. “You really get that enthusiasm and energy every time he’s in the studio. He loves to push us very, very hard, and that’s exactly what we need. He’s always telling us: ‘more, more; more body, more emotion, more heart’, which is really lovely. ‘More turnout, more quality.’ He loves quality. I love the way he describes things – ‘be royal, be expensive’. From day one he was fully here and fully committed. ‘I’m here for everyone and I’m here for the long haul.’ That’s really nice.”

Ventriglia inherited the 2015 season from Stiefel, including the gift of the full-length Scarlett that proved to be a very big hit and which will feature on RNZB’s 2016 Asian tour (it is a co-production with Queensland Ballet, which will perform it in Brisbane early next year). The 2016 season, his first full program, was announced this week.

Sonia Looker and MacLean Hopper in A Midsummer Night's Dream

Tonia Looker and MacLean Hopper in A Midsummer Night’s Dream

He spent his first year getting know the dancers, bringing in a series of guest ballet masters and mistresses before deciding who he wants to hire permanently, and getting acquainted with other companies and dance directors in the region (The Australian Ballet’s David McAllister, Queensland Ballet’s Li Cunxin, Sydney Dance Company’s Rafael Bonachela). “Very nice and open” is how he describes his early encounters and he is keen for connections, collaborations and exchanges in this part of the world as well as in Europe.

“New Zealand arrived at a moment of my life and career where I was really ready to jump into a new thing, a new energy, even in the dark a little bit,” he says. Ventriglia was working at the Bolshoi last year, staging his Boléro and Carmina Burana, when he got the message that RNZB was trying to get in touch with him. They called and said he was their choice to succeed Stiefel. He’d got the job.

Naturally he’d thought seriously about his application. The life of an artistic director is very different from that of a freelance choreographer who also occasionally likes to design sets and costumes. There’s time in that life for personal study, deep immersion in scores, lots of travel. But RNZB beckoned and he said yes. In Moscow, “at that moment I thought, that’s not my choice; it’s what life chooses for me”.

Ventriglia, who is in his mid-30s, made his dance career at La Scala. It was a good one. When he was just 19 Natalia Makarova came to stage her version of La Bayadère and chose him for the virtuoso Golden Idol solo; when he was even younger and newer to the company, William Forsythe hand-picked him to be in In the Middle, Somewhat Elevated. He danced Hilarion to Sylvie Guillem’s Giselle and appeared in ballets by Neumeier, Bejart, Preljocaj, Kylian, Mats Ek, Nureyev, “always in the lead role”. He retired at the early age of 31, becoming artistic directorship of Florence’s MaggioDanza. The company closed abruptly in 2013, a victim of funding cuts.

RNZB is in a happier situation as the country’s much-admired national ballet company. Ventriglia understands the importance. “What is great from my point of view is that the company can spread ballet culture through the country, from tiny, tiny cities to Auckland. This is a great, great responsibility.” There is also an imperative to tour internationally, “because it’s quite important to spread the New Zealand brand”. This year’s tour, from October 27 to early December, takes the production of Giselle created for the company by Stiefel and Johan Kobborg in 2012 to the UK and (naturally) Italy, along with a mixed bill. “We do one tour a year, and we hope two in the future.”

Ventriglia is also keen for the company, which has 37 dancers (they are unranked), to be seen at festivals. “We could send just a group – 10 to 15 dancers – and the other group can dance here,” he says. “We can be present in the same moment in an international place and national place. That’s what I want to do. It’s great – a national company. National! It’s a big responsibility. It’s for all New Zealand, not just your city.”

The first festival in Ventriglia’s schedule is the 2016 New Zealand Festival, and it will be the first time in a dozen years that RNZB has appeared at the event. The program, called Speed of Light, is an exuberant one: In the Middle, Somewhat Elevated; Alexander Ekman’s Cacti and Andonis Foniadakis’s Selon désir, which is also being seen on this year’s northern hemisphere tour.

The year continues with a world premiere, Ventriglia’s family-friendly The Wizard of Oz, which was to have been seen in Florence but “between the dress rehearsal and the opening night the theatre was closed. So after five years the ballet will be reborn in New Zealand.” Giselle will again be seen on home soil, and the Asian tour of A Midsummer Night’s Dream will follow. Ventriglia also talks obliquely about a further project, something very big, but will give no details at this stage.

The RNZB dancers are an international lot – New Zealanders, of course; a handful of Australians; a group of Americans, part of the Stiefel era (they were all still there a year later despite Stiefel’s departure); and now some Italians. There are dancers from the UK, Japan and China. “Artists don’t have any passports. They don’t have any nationality. They are good artists or bad artists,” Ventriglia says robustly. “Dancers want to dance the right choreographers – Forsythe, Ekman, Naharin. If you have the quality you attract the dancers. If you have the best choreographers in the world the best dancers want to come.”

 Royal New Zealand Ballet’s 2016 program

Speed of Light: Forsythe, Ekman, Foniadakis

The Wizard of Oz, Ventriglia

Giselle, Stiefel/Kobborg

A Midsummer Night’s Dream, Scarlett

Dance in 2013

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

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

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

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

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

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

The dancers:

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

Chengwu Guo. Photo: Lisa Tomasetti

Chengwu Guo. Photo: Lisa Tomasetti

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

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

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

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

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

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

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

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

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

The dances:

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

The ideas:

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

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

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

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

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

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

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

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

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

The disappointments:

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

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

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

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

The year’s most graceful tribute:

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

Lucy Green as Odette. Photo: Evan Li

Lucy Green as Odette. Photo: Evan Li

 The Trans-Tasman Prize for Sang-Froid:

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

Finally…

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

Next up, what’s of interest in 2014?

Lucy Green, RNZB, in profile

WHEN Lucy Green stepped on to the stage at Wellington’s St James Theatre on July 21 it was in front of the toughest crowd imaginable. Dancers from every era of Royal New Zealand Ballet’s history were in town for the company’s 60th anniversary celebrations and they’d come en masse to a special matinee performance of Swan Lake. They would see a 22-year-old Australian who had made her debut in the double role of Odette-Odile only two days before. Many pairs of expert eyes would be assessing her every move.

Lucy Green as Odette. Photo: Evan Li

Lucy Green as Odette. Photo: Evan Li

That’s not all. There were also television cameras in the wings, filming for the third series of the reality show about RNZB, The Secret Lives of Dancers, and those cameras weren’t around just to capture what used to be called Kodak moments. Green has been prominent in the first two series and knows only too well that drama and conflict are considered more entertaining, and that filming is stressful. It’s also relevant that last week Green was alternating with RNZB’s stellar principal guest artist Gillian Murphy, she of American Ballet Theatre fame and one of Swan Lake’s great exponents.

These are circumstances to test any performer’s mettle but brutal as they may be, they sort out the women from the girls; the winners from the losers. By ballet’s end Green had won through. She had shown what RNZB’s artistic director, former American Ballet Theatre principal dancer Ethan Stiefel, calls her ability to “continually rise to the occasion”.

Clutching flowers, she beamed as cheers rang around the theatre and Stiefel said from the stage: “I couldn’t have picked a better group of people to put before six decades of alumni. I’m proud to work with all of you.”

Green is a quietly poised, thoughtful and modest young woman, aware of her good fortune and grateful for it. “I never, ever thought that I would ever get the opportunity and especially not at this age. It’s a role I never dared to think I would do,” she says. She has form, however. Also on her CV after just three years with RNZB is Giselle, which she danced on the company’s recent tour to China, and last year’s Cinderella.

She is talented, a rising star, no doubt about it. But the thing everyone mentions about Green – the unromantic but necessary part of the equation – is that she has worked indefatigably for her success. This is the less thrilling but more truthful secret life of the dancer.

The story started at Australia Street Infants School, in Sydney’s Newtown. “It was quite a radical school at the time,” says Green’s mother, Bridget. “The parents got together and decided contact sport was a no-no. They employed a dance teacher.” Lucy was entranced from the start. “She was with Miss Jenny, who she adored and who imbued a passion for dance. Lucy asked me if she could go to after-school classes in the school hall. She never looked back. She decided that was it. She was a dancer.”

Jenny Eldridge (“Miss Jenny”) says Lucy “focused, listened and concentrated from the word go. She was a beautiful child to teach.” Many years later Eldridge saw Green compete at the City of Sydney Eisteddford, in a solo from Giselle, and “the thing that captured me about her was that she was dancing from her heart”.

After the Green family moved to Melbourne Lucy studied at the National Theatre Ballet School under Beverly Jane Fry’s directorship. There she came to understand what aiming for a life in ballet demands: not just liking it or wanting it, but the effort it takes. After that epiphany she took every class possible, says her mother. “That’s the key to Lucy. She’s serious and she works hard.” Green successfully auditioned for the Australian Ballet School but chose the Victorian College of the Arts Secondary School. “She saw Maggie Lorraine as a mentor and she knew that she’d made the right decision,” says her mother. Lorraine was Green’s teacher at VCASS for four years and also mentions the hard graft: Green “didn’t have an easy body to work with. She virtually resculpted her body.”

At one point Green would have liked to join the Australian Ballet. The offer, however, came from across the Tasman. “From day one when she auditioned, straight away … we had to have her. She shone,” says Greg Horsman, formerly ballet master with RNZB and now with Queensland Ballet. “She’s very musical, she’s very co-ordinated and she has amazing turns. And she’s intelligent. You can give her a correction and she takes it on board right away. I loved working with her.”

Green found out she was being considered for Odette only eight weeks before her Swan Lake debut, having just returned from a three-week European holiday with her boyfriend, Rory Fairweather-Neylan, also a dancer with RNZB. It wasn’t the best preparation, she acknowledges, having not been able to take regular classes, but at least there was an eight-week rehearsal period ahead. The production being revived was that created by former RNZB artistic Russell Kerr, with designs by Kristian Fredrikson.

Lucy Green as Odile with Kohei Iwamoto. Photo: Evan Li

Lucy Green as Odile with Kohei Iwamoto. Photo: Evan Li

As is the way with dance companies, the news was relayed via a list on the company noticeboard that had names, in alphabetical order, alongside various roles. Green was down to learn Odette-Odile as were three other company members. “We had no warning. It just went up one day, this is what you’re learning.” The fifth name on the list was Murphy’s. Engaged to Stiefel, Murphy spends a significant amount of time at RNZB. She is also one of Green’s great inspirations.

“She is the perfect embodiment of the white and the black,” Green says. “She really makes you believe she is a swan in the white acts … the delicacy of her arms and her hands. It’s like they are actually wings. Everything she does comes from the heart. As Odile she’s completely the opposite. The eyes are so powerful, she commands everyone to look at her and she owns the stage. I’ve loved watching her and studying her. But you have to be careful – you don’t want to be a cheap copy of something someone’s already been.”

Obviously Murphy would be getting performances. As for the rest of them, “you could be an understudy or you could be doing it. You don’t know.”

Throughout the rehearsal period Green was getting a lot of coaching – unusually not from a former Odette but from Stiefel and ballet master Martin Vedel. “But we didn’t learn who was doing what when” until about two and a half weeks before opening. “There was always the hope, I guess. It’s a small company [34 dancers], so it was more likely than being in a big company of course. I had had a lot of encouragement about the roles I’d done previously so I was quite hopeful, but you never want to get your hopes up too much.

“People know any roles can be up for grabs by anyone. There’s a lot of disappointment sometimes when someone doesn’t get something they want, but I do find here people are so supportive that they tend to put aside their disappointments. That’s something that I really felt [at the first performance], the energy I got from everyone, even those who might want to be doing the role I’m doing.”

Being far from the major ballet centres meant Green had to go to YouTube to see how others approach the role. “I remember watching these long, beautiful dancers with long classical lines, their legs go on forever, their arms are just like wings. I never thought I’d have those qualities. But yeah, here I am, and I’ve done it. I can’t believe it.” And while she was able to have only one orchestral rehearsal, she found Tchaikovsky’s music inspiring. “It’s got all the emotion and all the qualities you need,” she says.

Then there’s all that work. “You’ve got to put in a lot yourself. You’ve got to make the corrections sit with your body and feel right. One of the main concerns with me dancing the role was everything was quite small to begin with. I didn’t have the expansiveness, the full breadth of movement. I could feel it, but when you see yourself [some rehearsals were filmed] you can see what [coaches are] talking about and better apply what they are saying.’’

Another help was dancing with Japanese-born, Australian Ballet School-trained Kohei Iwamoto, 23, as Siegfried. (“He’s another nice dancer with huge potential,” says Horsman.) Iwamoto has partnered Green before, notably in Giselle, and it’s “a really good partnership. When I go out there and I see him I feel really comfortable and I trust him. It’s really nice.’’

In a company of this size it’s not all Odette and Giselle, however: Green dances secondary roles too and gets few performances off. She dreams in the future of Juliet and Kenneth MacMillan’s Manon and of perhaps dancing in Europe, but in the immediate future, after Swan Lake, lies the biennial Tutus on Tour program that splits the company and takes ballet to small NZ centres where “you have one dressing room for 16 dancers, and you’re sharing a bathroom with the audience”.

It’s a blast, she says. “It’s kind of crazy but you get this close group of dancers and everyone supports each other. It’s an intense workload but somehow we manage to pull it off.”

Swan Lake continues at various NZ centres until September 1.

This is a slightly extended version of a profile that first appeared in The Australian on July 25.

Swan Lake, RNZB, change of cast

St James Theatre, Wellington, July 19

A SECOND viewing of Russell Kerr’s Swan Lake for Royal New Zealand Ballet introduced two new young leads and further illuminated its strengths and a few weaknesses.

Last night the mature, high-octane opening night pairing of Gillian Murphy and Pacific Northwest Ballet guest Karel Cruz gave way to the sweet anguish of youth with Lucy Green and Kohei Iwamoto, both members of RNZB since joining in 2010. Both were trained in Melbourne, Green at the Victorian College of the Arts and Iwamoto at the Australian Ballet School.

In the short time they have been at RNZB Green and Iwamoto have formed a fruitful partnership, dancing together in the lead roles in Giselle (by RNZB artistic director Ethan Stiefel and Johan Kobborg) and in Stiefel’s Bier Halle, and they are a good match. Their ease together shows up in many little details of timing that add so much to add texture and meaning to a moment. Take, for instance, the Act II mime in which Siegfried precipitately wants to tell Odette he will save her. Iwamoto has started to stretch his hand high above his head with fingers pointed, ballet speak for “I promise you”, but it’s too soon for Green’s fearful Odette, who understands the dangers much better than Siegfried does. Just at the right moment she pulls his arm back. It’s these split-second moments that make a gesture seem naturally impelled by the drama rather than dutifully learned.

Green is only 22 and her art is not one of grandeur but of touching emotional openness. There was anxiety and uncertainty at her first meeting with Siegfried, and deep anguish near the end when Siegfried returns to the lake after his betrayal of Odette. Green’s gestures and expression of forgiveness had a most affecting tenderness.

As Odile Green doesn’t have, or at least not yet, a way of being entirely convincing as a heartless and duplicitous siren although she handled the choreography with aplomb. And it was lovely to see her reaction when Rothbart gives her some whispered tips about how to reel Siegfried in. Odile starts to mimic some of Odette’s signature movements and Green’s face lit up. It was probably too big a gear shift, but also a reminder of just how many tiny choices, adjustments and decisions go in to making a seamless performance.

Iwamoto has a lovely clean line, impressive elevation and he partners nobly, although he can sometimes let the tension of performance show too clearly in his expression. His Siegfried is particularly young, the kind of man who really is extremely happy with his birthday gift of a crossbow and who is pretty easy game for Rothbart. One of the weaknesses of Kerr’s production, one I referred to in yesterday’s report, makes Siegfried look pretty hapless, and Iwamoto wasn’t able to overcome the inherent problems. The opening of Act III, in which various princesses present themselves as prospective brides, lacks a strong sense of shape and purpose. Who is presenting these women? Have they just turned up with their girlfriends? Do their predominantly black tutus mean they are somehow aligned with Odile and therefore Rothbart, who enters a little bit later? There are possibilities there simply not addressed.

The other problem is with the ending. If you miss the all too brief moment in which Odette indicates to Siegfried that they must kill themselves you might think the power of love had vanquished Rothbart and we were in for a Soviet-style happy ending. In the tussles with Rothbart there’s plenty of time for a more detailed and therefore affecting journey towards the lovers’ fate.

Elsewhere, the second cast pas de trois cast of Mayu Tanigaito, Ginny Gan and Jacob Chown was extremely attractive, with Tanigaito’s buoyancy and elevation a particular delight. Dimitri Kleioris made an impact as Rothbart, and again the New Zealand Symphony Orchestra under the baton of Nigel Gaynor added immeasurably to the occasion.

Next week RNZB adds another cast to the mix, with Abigail Boyle and Qi Huan. I regret I won’t be able to stay to see them.