New era at RNZB

The question had to be asked. Is Patricia Barker at Royal New Zealand Ballet for the long haul?

Her predecessor but one as artistic director, fellow American Ethan Stiefel, saw out his three-year contract but decided not to renew. Barker’s immediate predecessor, Francesco Ventriglia, announced his resignation last November only two years into his tenure (he stayed in the job until June). A different approach was clearly needed.

Patricia Barker, Artistic Director, The Royal New Zealand Ballet

Royal New Zealand Ballet artistic director Patricia Barker. Photo: RNZB/Stephen A’Court

“The Board asked me to sign on for five years,” Barker says. It’s a wise call in the circumstances and Barker looks to be just what the dance doctor ordered. Beneath her quiet, warm, calm demeanour there would seem to exist super-powers and abilities far beyond those of mortal men, or women.

Barker gave nearly three decades of service to Seattle-based Pacific Northwest Ballet, where she long reigned as an internationally renowned prima ballerina before retiring in 2007 in her mid-40s. A few years later she went to Grand Rapids, Michigan, to run a company that was “a week or two from closing its doors”. It had big, big problems but Barker took the job on because she didn’t want to see another company disappear, putting dancers on the street. “When things get hard I don’t give up,” she says. Seven years on, GRB is thriving.

Making deep commitments seems to sit easily with Barker. “I bring a sense of settlement. I’m settled, I’m consistent, I’m passionate about this industry, I care about the organisation I work for and the people that are here and I’m experienced in my position. The company hasn’t had somebody with my skill set in quite a while,” she said, sitting in the RNZB boardroom the morning after the company opened Romeo and Juliet. (Ventriglia stayed on to choreograph it.)

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Madeleine Graham, Patricia Barker, dramaturg Mario Mattia Giorgetti and Joseph Skelton after the opening of Francesco Ventriglia’s Romeo and Juliet. Photo: RNZB/Jeremy Brick

This doesn’t come across as anything remotely approaching self-promotion, by the way. Barker speaks carefully and plainly. It’s just the way things are.

RNZB was obviously keen for Barker to start more or less instantly after she’d accepted the Board’s invitation. She was announced as artistic director on June 7, within about a week a visa had been secured and less than two weeks later she had arrived. “I grabbed two suitcases and came. I was sitting in my chair on the 18th or 19th. It was a whirlwind,” she says.

On Barker’s second day she attended a full board meeting; on her third she hopped on a plane to Timaru, a city halfway between Christchurch and Dunedin on the east coast of New Zealand’s South Island. That was to catch a performance of Tutus on Tour, a touring program to small centres designed to fulfil RNZB’s brief as the country’s national ballet company.

It was a full-on start for a woman whose life was frankly busy enough already. She is still GRB’s artistic director and thus holds down two jobs, but Barker is unfazed. The timing of seasons is different, there are things that can be done from a distance, she had already planned GRB’s 2017-2018 season and Ventriglia had pretty much locked down RNZB’s 2018 program, although Barker has had room to add a few touches of her own.

And Grand Rapids, one hastens to add, has already made some staff adjustments and its search for a new artistic director is well and truly on. Nevertheless, it’s a measure of how much RNZB needed Barker in New Zealand as soon as possible that it’s prepared to see her juggle responsibilities for both companies for some while.

Patricia Barker, Artistic Director, The Royal New Zealand Ballet

Patricia Barker in the studio at Royal New Zealand Ballet. Photo: Stephen A’Court

Eight weeks in when we speak, Barker is still learning new things about how RNZB operates and “the Kiwi accent throws me a little bit”, but there’s no hesitation when it comes to what she intends for the company. At the repertoire level, given Barker’s Balanchine-rich background at PNB, can we expect to see more of that master’s works? “Yes, in one easy word. They are food for the dancers and delight for the audiences.” Barker knows Jîrí Kylián well, having been a co-artistic adviser with him at Slovak National Ballet, and describes him as someone audiences need to see and whose works dancers desire to dance.

“Works by Balanchine, Kylián, Forsythe – they will attract talented dancers to our shores,” Barker says. She’s also a strong supporter of female choreographers, a group very under-represented in classical dance. And proving the value of doing two jobs at once, she is backing the talents of a company dancer and choreographer, Loughlan Prior, by sending him to Grand Rapids to make a work for her contemporary dance program MOVEMEDIA: Diversity.

Barker is working on 2019 and beyond, as she must. That involves “looking for the big ideas, the big works” and then working out audience appeal, touring logistics, how productions can be built and the many other details that underpin a season.

First though, come the dancers. “One of the reasons why we all agreed for me to come as soon as possible was for me to get a feel for the dancers, for the talent in the room for the works that are being done next year and then building for ‘19, ‘20, ‘21,” Barker says. “I believe in using the talents you have in front of you, but definitely looking towards the future and talents that may turn up on our doorstep. At the moment dancers are making life decisions and we’re making decisions for this organisation. We want the brightest talents in the studio.”

Some dancers will choose to leave, she says – “it’s in dancers’ DNA to move around” – but others may well be encouraged by plans Barker has for a more stable in-house structure.

“There’s been a big change in artistic staff over the past six years and that’s something I’m committed to settling down. We will have a team and will have a permanent team. I feel very confident in the people for 2018. The goal is to have permanence for a length of time.”

Someone it wouldn’t be surprising to see in the RNZB studios is Barker’s husband, Michael Auer, also a former principal artist with PNB. Auer is currently creative director at the school associated with Grand Rapids Ballet but he and Barker don’t propose to have a long-distance relationship. She might have abandoned him (her word) to move to New Zealand as quickly as possible but he will be joining her in Wellington. “As long as we’re together we feel that’s home.”

Romeo and Juliet, RNZB

St James Theatre, Wellington, August 16.

Francesco Ventriglia was artistic director of Royal New Zealand Ballet when he proposed making a new Romeo and Juliet to replace Christopher Hampson’s highly regarded version, made in 2003 to mark RNZB’s 50th anniversary and revived for four more seasons. Ventriglia’s tenure didn’t quite work out as planned and in November last year, two years into the job, it was announced he would leave the post in June. He would however stay on as a guest choreographer to complete R&J.

Romeo and Juliet, by the Royal New Zealand Ballet.

Joseph Skelton and Madeleine Graham as Romeo and Juliet. Photo: RNZB/Stephen A’Court

Hampson’s version was set in the 1950s. Ventriglia returns the story to the 15th century and Italian aristocratic life, vividly evoking a society in which excitable young men with not enough to do are constantly on the prowl for mischief while young noblewomen must face the prospect of marrying Prince Wrong to shore up the family’s standing.

Renaissance Verona comes up a treat in British designer James Acheson’s sets and costumes. He was clearly the right man for the job, what with a mantelpiece laden with Oscars including for The Last Emperor and Dangerous Liaisons. This is a man who knows his way around opulence. The elder Capulets gleam in crimson, Juliet shimmers in floaty white and pastels and the inevitable harlots make whoopee in sexy swagged frocks that are a riot of saturated colours, set off by fabulous boots. Business must be excellent.

The only disappointment is that Acheson – one assumes he must take the blame – has apparently agreed to fall obediently in line with classical ballet’s inviolable harlot rule. It states that women in this profession must be identified, without fail, by a desperately unbecoming explosion of frizz on their heads (cf. Manon). Most tiresome.

Romeo and Juliet, by the Royal New Zealand Ballet.

Kirby Selchow, Katie Hurst-Saxon and Veronika Maritati. Photo: RNZB/Stephen A’Court

This irritation aside, Acheson’s design is a powerful character. There are great arches, a wide central staircase and tall columns that deftly redefine spaces. For the balcony scene Juliet at first appears, Rapunzel-like, in an opening carved out of a tall, otherwise faceless tower that speaks of a material world that has stood, and will stand, for generations to defend its inhabitants from envious outsiders (or perhaps a young man who might want to take liberties).

We don’t know why the Capulets and Montagues hate one another but it doesn’t matter. Their enmity is woven into the fabric of their lives, as is religion. It must be observed. In a brilliant touch, Juliet’s bedchamber is dominated by a huge painting of Madonna and Child under which Romeo and Juliet consummate their marriage, mute testimony to the role Friar Laurence plays in the tragedy and the inescapable influence of the Church.

The visual richness is a wonderful match for Prokofiev’s music, which conductor Hamish McKeich and Orchestra Wellington played to the hilt at the opening. They gave urgency and sweep to the big moments that give brass and percussion occasion to let rip and McKeich drew lush playing from the strings. While the sound was more persuasive at full bore than in the score’s more intimate sections (possibly a function of the St James acoustic), McKeich’s reading of this exceptionally familiar music gratifyingly offered new things to hear in it.

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Abigail Boyle as Lady Capulet. Photo: RNZB/Stephen A’Court

Ventriglia responds to the music with choreography that is always fluent and apposite but not greatly revelatory or distinctive. He does, however, give the staging plenty of piquant flavour, a result, no doubt, of his collaboration with dramaturg Mario Mattia Giorgetti. Their work pays handsome dividends. There is no alteration to the broad sweep of the narrative – everything is in its expected place – but close attention is paid to the spaces in between. You see this at the Capulet’s masked ball when Tybalt warns Juliet off Romeo with the smallest shake of his head, a moment that adds texture to their relationship. Don’t do this, he’s telling her. Don’t go there. It’s the tinest thing yet adds to our understanding of the relationship between the cousins. There are a myriad other examples that give characters nuance and actions a reason for being. Of course Tybalt, who sees what’s going on, would let Juliet know he knows.

Most striking is the depiction of Lady Capulet and her relationship with Tybalt. At the masked ball their desire is barely suppressed and when Romeo kills Tybalt, Lady Capulet’s grief and rage explode like napalm. She rips off the mask of propriety and doesn’t care who sees the naked passion beneath. Just in case anyone was under the misapprehension she was mourning a favourite nephew, Lady Capulet marks her territory with a voracious kiss almost as shocking as the one Oscar Wilde’s Salome gives the head of John the Baptist. Abigail Boyle’s ice-and-fire Lady Capulet was a sensation, well matched by Paul Mathews’s deeply attractive Tybalt.

Not surprisingly, the younger lovers came to look a little pallid in the shadow of such drama, or at least did on opening night. Joseph Skelton and Madeleine Graham acted engagingly and danced their series of complicated pas de deux with much skill. Skelton is handsome and an able partner, Graham is adorable and both were very sweet, but neither clawed their way to the peak of great tragedy nor plumbed the depths of exhilaration and desperation.

Romeo and Juliet, by the Royal New Zealand Ballet.

Joseph Skelton and Madeleine Graham. Photo: RNZB/Stephen A’Court

Massimo Margaria was a wild Mercutio, Filippo Valmorbida enchanting as Benvolio (I think he’d be a rather good Romeo) and Laura Saxon Jones all elbows and daffy kindness as the Nurse. Mayu Tanigaito stood out in the quartet of Juliet’s friends and dances Juliet at some performances, partnered by Kohei Iwamoto, who managed to make something of the fairly thankless role of Paris on opening night. Jacob Chown was tremendously good in the tricky part of Lord Capulet, who has to keep up appearances as a man of substance in the face of his wife’s barely veiled contempt.

Romeo and Juliet ends in Wellington on Sunday August 20 then tours to seven cities around the country, ending on September 24.

Patricia Barker to lead RNZB

Royal New Zealand Ballet has appointed American Patricia Barker as its new artistic director. She leaves Michigan’s Grand Rapids Ballet to take up the position and starts in Wellington later this month. Barker succeeds Francesco Ventriglia, who announced his resignation in November, well short of the end of his first contract with the company. Ventriglia will stay on for several months as a guest choreographer to see his new production of Romeo and Juliet on to the stage. It opens on August 16.

Barker will be the second woman and third American to lead the company in its 64-year history. Una Kai, a New Jersey-born dancer with New York City Ballet, was artistic director at RNZB from 1973-1975. American Ballet Theatre star Ethan Stiefel directed the company for three years immediately before Ventriglia’s tenure.

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Patricia Barker, Royal New Zealand Ballet’s new artistic director

Barker enjoyed a celebrated dance career at Seattle’s Pacific Northwest Ballet under the direction of Kent Stowell and Francia Russell and was particularly admired in the Balanchine repertoire. After retiring from the stage in 2007 she worked as co-artistic adviser – with Jiří Kylián – at Slovak National Theatre Ballet, has staged works for the Balanchine Trust and since 2010 has been artistic director of Grand Rapids Ballet – her first such appointment.

In 2015 Pointe magazine credited Barker with turning around the fortunes of that company in her first four years. Grand Rapids previously had 16 dancers but by 2015 the number had increased to 33, a number that included trainees and apprentices. Like many American classical companies of its size, it performs for about seven months of the year. RNZB is a fulltime company with 38 dancers.

RNZB Board chair Steven Fyfe said in a statement: “From a large number of excellent applications from New Zealand and all over the world, the Board was greatly impressed by Patricia’s vision for all aspects of the RNZB’s activities, together with her experience as an artistic leader. Her knowledge of both contemporary and classical repertoire, as a dancer, coach and director also makes her an outstanding fit for the RNZB.”

Barker said: “I am honoured and delighted to provide the artistic leadership to a company full of opportunity, achievement and with a unique creative voice and spirit. I will preserve the rich tradition of the Royal New Zealand Ballet while building on the company’s impressive repertoire by curating works to build on a distinctive New Zealand personality to enrich the lives of New Zealanders and showcase our dancers’ versatility to the world. I look forward to working with the Board of Directors, Frances Turner and the staff to present a broad spectrum of accessible, stimulating, and entertaining programing to a diverse national audience and to present the RNZB as a cultural ambassador of New Zealand.”

RNZB’s Executive Director, Frances Turner, celebrated the fact the company will be led by two women: “I’m looking forward to working with Patricia and enabling her artistic vision,” she said in a statement. “As the RNZB heads towards our 65th season I know that we will continue to inspire New Zealanders with great art. It’s also exciting to be leading the company in partnership with another woman; I suspect there are very few national companies worldwide that can say this!”

My year in dance

Anne Teresa De Keersmaeker and Pina Bausch made my year. For his final Sydney Festival in January, artistic director Lieven Bertels programmed two bracing De Keersmaeker works, Fase and Vortex Temporum, and the huge thrill was seeing the choreographer herself in Fase (my review is here). Living dance history. Festival clout and money also made the Bausch experience possible. At the Adelaide Festival in March Tanztheater Wuppertal Pina Bausch performed Nelken, which was obviously a necessity to see, but just a week later Wellington’s New Zealand International Arts Festival trumped Adelaide. In the repertoire carve-up the Wellington-based festival got the double bill of Café Muller and Rite of Spring. I had always longed to see both live. And now I have.

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Pina Bausch’s The Rite of Spring. Photo: Matt Grace

The Perth International Arts Festival (February) and the Brisbane Festival (September) – there’s a theme here – also provided performances that made it into my best-of list. It was absolutely worth going to Perth for just one night from Sydney (flying time: five hours) to see Sidi Larbi Cherkaoui’s Apocrifu, which was outstandingly beautiful, in a rough, sweaty kind of way, and accompanied by celestial a capella singing from the all-male group A Filetta. It was a much easier business to pop up to Brisbane for Jonah Bokaer’s Rules of the Game – not really for the much-hyped title work (its score was by Pharrell Williams) but for the chance to see earlier Bokaer pieces and the choreographer himself onstage.

More festival highlights, these from local choreographers: Stephanie Lake’s super-intelligent Double Blind at the Sydney Festival, Kristina Chan’s ravishing A Faint Existence at Performance Space’s Liveworks festival in October and Nicola Gunn and Jo Lloyd’s Mermermer, also at Liveworks.

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Kristina Chan in A Faint Existence. Photo: Ashley de Prazer

The rest of the key works in 2016 come from major companies. The Australian Ballet, which has been looking very, very conventional of late, stretched dancers and audiences with John Neumeier’s Nijinsky (which I reviewed for Limelight magazine); Bangarra Dance Theatre’s triple bill OUR land people stories was a luminous program; and Sydney Dance Company’s double bills Untamed (October) and CounterMove (February) yet again demonstrated the thoroughbred power and impressive individuality of Rafael Bonachela’s dancers.

In the year I saw dance in Sydney, Perth, Brisbane, Adelaide, Melbourne, Auckland and Wellington, but yet again I mourn the fact that I just wasn’t able to visit Melbourne more often to sample its contemporary dance riches. As so often, Samuel Beckett comes to mind: “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”

On the people front the biggest news of the year was the re-emergence of David Hallberg after a two-and-a-half year absence from the stage. The American superstar, a principal artist at both American Ballet Theatre and the Bolshoi Ballet, spent a year at The Australian Ballet’s headquarters in Melbourne undergoing extensive rehabilitation after having surgery for an ankle problem. His return to the stage was, fittingly, with the AB, and as it happened, the scheduled ballet gave Hallberg a role debut. He danced four performances as Franz in Coppélia. (You can read about the rehabilitation process here and the Coppélia performance here.)

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David Hallberg in Act I of Coppelia. Photo: Kate Longley

Queensland Ballet made a splash when it announced the appointment, from 2017, of Liam Scarlett as artistic associate. Scarlett retains his artist in residence role at the Royal Ballet. At the same time QB announced artistic director Li Cunxin had signed on for four more years. The board must be happy about that.

Less happily, Royal New Zealand Ballet announced that its relatively new artistic director, Francesco Ventriglia, would be relinquishing that role in mid-2017. He will stay on to choreograph the announced new Romeo and Juliet, but then he’s off. What happened? I’ll let you know when I find out, although previously he had spoken to me enthusiastically about being in New Zealand. The RNZ website (Radio New Zealand) wrote in early December that as many as a dozen dancers and staff had left RNZB because of conflicts with Ventriglia, quoting a representative of the union that represents dancers.

I stress I have no information that suggests these departures are connected with Ventriglia’s, but leading Australian-born RNZB dancer Lucy Green has accepted a position with Queensland Ballet for 2017 and RNZB’s former music director Nigel Gaynor, who was hired by Ventriglia’s predecessor Ethan Stiefel, is now QB’s music director. These gains by QB could easily be explained by Li Cunxin’s voracious eye for talent – as in the Liam Scarlett coup (QB and RNZB share Scarlett’s lovely Midsummer Night’s Dream so there’s a close connection).

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

The biggest disappointment of the year is the AB’s lack of commitment to developing new choreographers. It’s true that Bodytorque, which started in 2004, needed a fresh look, but it’s become the incredible shrinking show, offering less and less each year. The name is no longer used at all and the amount of new work from developing choreographers is minuscule.

Bodytorque was last seen in its familiar form in 2013 – six new or relatively inexperienced choreographers made works that were seen in a short special season at what is now the Roslyn Packer Theatre in Sydney. In 2014 Bodytorque went to Melbourne and featured five works, including a piece by newly minted resident choreographer Tim Harbour. The other four dance-makers included Alice Topp (her fourth year at Bodytorque) and Richard House (with his second piece).

In 2015 the name still lingered but the program had dwindled to the creation of just one work, House’s From Something, to Nothing, shown once in Sydney and once in Melbourne as a “pop-up” event called Bodytorque Up Late. This took place after performances of mainstage repertoire, once in Sydney and once in Melbourne. The audience could stay to watch for free if it wished. Or not.

In 2016 it was clear favour had fallen on Topp and House, which is fair enough. Both, but particularly Topp, are worth persevering with. This time their new works, each of about 10 minutes in length, were programmed as part of a group of divertissements that acted as a curtain-raiser to Balanchine’s Symphony in C, which gave the whole evening its name.

And for 2017? Those two pieces will be seen again, this time in Melbourne when that city gets Symphony in C. So – let’s add up the minutes. In the three years from 2015-2017, there will have been a bit under 40 minutes in total of new choreography from developing choreographers.

It’s possible AB artistic director David McAllister has big plans for Topp, or House, or both. After all, Harbour was developed via a series of Bodytorque commissions. But Harbour emerged from a quite a large pack. The window of opportunity has now narrowed excessively – and depressingly.

Royal New Zealand Ballet in 2017

Royal New Zealand Ballet’s search for a choreographer to make a new Romeo and Juliet for the company in 2017 was a short one. After the sell-out success of artistic director Francesco Ventriglia’s The Wizard of Oz in May this year, the ballet company’s board asked Ventriglia to take the job himself. In a big coup for the company Romeo and Juliet will be designed by James Acheson, a triple Academy Award winner for costume design who happens to live in Wellington. Acheson was responsible for the lavish costumes in The Last Emperor, Dangerous Liaisons and Restoration and is setting Romeo and Juliet conventionally, and no doubt sumptuously, in Verona in the late Renaissance. It is Acheson’s first ballet assignment and Ventriglia says the initial discussions with him have been “extremely interesting, challenging and inspirational”.

Ventriglia promises a big, “really classical” production and will use the Prokofiev score. He knows the MacMillan version intimately from his dancing days – “I was Paris, I was Tybalt; it’s part of my DNA, if you want” – but says the MacMillan and the equally admired Cranko versions were perfect “for their moment”. In other words, those productions, which premiered in 1965 and 1962 respectively, are now more than 50 years old. There’s room for other interpretations.

So Ventriglia is doing what he calls a lot of diving into the text and music to find his own way into the story, and is working with a dramaturg to make sure there is “a reason for everything”. A key issue for him, for instance, is the relationship between Lady Capulet and Tybalt, whose connection he wants to strengthen. Romeo and Juliet opens in Wellington in August 2017.

Two mixed bills in 2017 will buck the usual mix’n’match trend by focusing on a single choreographer. RNZB’s opening season, which runs from February to April, features two works by Roland Petit, a choreographer who featured strongly in Ventriglia’s dance career at La Scala (“I grew up with him”) and whose work is rarely seen in this part of the world. New Zealand audiences will see L’Arlesienne (1974) and Carmen (1949), both to the music of Bizet. (The Australian Ballet performed Carmen in 1973.)

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Abigail Boyle and Massimo Margaria in a promotional image for Carmen. Photo: Ross Brown

Petit died in 2011 after a long and celebrated career. The second featured choreographer, Swedish-born Alexander Ekman, is just 32 and has been choreographing only since 2006. In the middle of the year RNZB will revive Ekman’s wildly popular Cacti (2010) – which it performed earlier this year as part of a triple bill titled Speed of Light – alongside company premieres of Tuplet (2012) and Episode 31 (2011). Ekman’s website describes Tuplet as “a swift, pulsating, eighteen-minute tour-de-force for six dancers which asks the question, what is rhythm?”. Episode 31 was made for Juilliard students in New York and is for a large group of dancers.

Ventrigila plans to organise offstage events to complement both programs. “They will open a new communication with the public,” he says.

RNZB will also help celebrate New Zealand School of Dance’s 50th anniversary at a gala in November. NZSD is the Official School of the Royal New Zealand Ballet and senior students undertake corps de ballet roles in some productions, as they will in next year’s Romeo and Juliet. RNZB’s repertoire is yet to be announced but will include a work to be staged during the 2018 season but unveiled early for the anniversary celebrations.

Next year is a Tutus on Tour year and in 2017 RNZB will take a gala program to regional centres – “a good, proper repertoire gala; even in the small cities they will see the real Royal New Zealand Ballet”. While the program hasn’t yet been finalised, Ventriglia is thinking along the lines of the Le Corsaire pas de deux and Balanchine’s Tschaikovsky Pas de Deux.

There is no international touring locked in at the moment but it’s something Ventriglia always has his eye on. He’d like to take the company back to Italy soon and a return to China is on the cards. “I want to build a bridge between New Zealand and the rest of the world,” he says.

Ventriglia will have a slightly larger company with which to do that. Next year he is able to increase his dancer number to 36 from the current 34.

About last week … April 30-May 6

A week of contrasts started on Tuesday at the Sydney Opera House with the marvellous Bernadette Robinson in Pennsylvania Avenue, her follow-up to Songs for Nobodies. Both were written by Joanna Murray-Smith to give a narrative framework for Robinson’s rare talent and if Songs for Nobodies strikes one as the much better work, Pennsylvania Avenue still offers many pleasures. Robinson has an extraordinary ability to summon the voices and spirit of famous singers and is a fine actor as well. Her art is much more than mimicry. Pennsylvania Avenue is flashback theatre set in the White House as a woman, Harper Clements, recalls her life of service to a string of presidents, starting with JFK. The conceit is that she works with the entertainments wing and thus comes into contact with many famous singers over a 40 year-span. The single set rather traps Robinson into walking around, picking up and putting down a box of belongings as she prepares to leave her position (Simon Phillips directed), and the troubles in Clements’s life aren’t as fascinating as the evocation of events such as Sarah Vaughn’s performance at the White House. Nevertheless, the wide range of songs and Robinson’s skill keep you with her, even if at 90 minutes the show feels a tad long. Robinson does a killer Tammy Wynette (Stand By Your Man – associated, naturally, with the Clinton era), her Eartha Kitt (If You Go Away, the English version of Brel’s Ne Me Quitte Pas) is spine-tingling and her Bob Dylan (The Eve of Destruction) is pitch-perfect, if such a term can be applied to the Dylan vocal style. An excellent band, too, tucked away behind the curtain.

Bernadette Robinson

Bernadette Robinson in Pennsylvania Avenue

On Wednesday morning it was off to Wellington and Royal New Zealand Ballet’s The Wizard of Oz, which I have reviewed at length in the post below. A lovely work, albeit one that can grow as it gets more performances. As always, dramaturgical input is something very much needed in the making of story ballets and it is often put too far down the list of priorities. I’ve very much enjoyed reading British critics talking about the need for dramaturgical and directorial input into Liam Scarlett’s new three-act ballet for the Royal, Frankenstein. I’ve been banging on about this for decades. But back to RNZB, where choreographer and artistic director Francesco Ventriglia has a very strong base from which to work. And we’re not talking huge changes.

Thursday night brought the Queen/Ben Elton musical We Will Rock You, which I missed when it was staged in Australia in 2003. My review is in The Australian today (May 9) and I’ll put it up on the blog later in the week. Suffice to say that as someone who was young in the 1970s I had a very good time indeed.

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Casey Donovan as the Killer Queen in We Will Rock You. Photo: Jeff Busby

Thank goodness for Australian Theatre for Young People’s Friday matinee of Spring Awakening, a production I would otherwise not have been able to fit into the schedule. And I would have missed a beauty. It’s salutary to note that Frank Wedekind’s 1891 play was banned in England until 1963, a clear affirmation of its revolutionary nature. Well, and of British idiocy in respect to censorship. Wedekind’s theme of burgeoning teenage sexuality and adult fear and hypocrisy was incendiary then, and now. Despite children having almost unfettered access to sexual material, there are powerful people who still refuse to allow those children to have straightforward, realistic, all-embracing information and discussion.

The 2006 musical by Duncan Sheik (music) and Steven Sater (book and lyrics) is set in the time of Wedekind’s play yet feels utterly contemporary, and not only because of the indie-rock score. The young ATYP actors are shiningly unselfconscious and thoroughly absorbed and absorbing. Jessica Rookeward’s Wendla glows in spirit and voice and the two leading men, James Raggett (Melchior) and Josh McElroy (Moritz) could not be bettered, so passionate and so different. Mitchell Butel, on only his second directorial outing, proves that should acting jobs dry up – unlikely; Butel is one of the busiest and most versatile men on the Australian stage – he can segue effortlessly to the other side. He gets superb performances of detail, clarity and conviction from relatively inexperienced performers and creates an utterly believable world. The design from Simon Greer (set), Damien Cooper and Ross Graham (lights) and David Bergman (sound) is simplicity itself and all the better for it. Amy Campbell’s choreography is brilliant, as is Lucy Bermingham’s musical direction. Bravi.

It appears there may still be some seats for the Spring Awakening matinees of May 11 and 13. I’d advise jumping on them immediately.

Jessica Rookeward and James Raggatt in Spring Awakening. Photo: Tracey Schramm

Jessica Rookeward and James Raggatt in Spring Awakening. Photo: Tracey Schramm

On Friday it was off to Carriageworks and a showing of the four finalists in the Keir Choreographic Award, a generous biennial prize (yay!). I’ll write more about it later but wasn’t surprised that Ghenoa Gela carried off both the main award of $30,000 and the people’s vote, which added $10,000 to Gela’s prize. Put simply, Fragments of Malungoka – Women of the Sea was much more emotionally engaging than the other works; it was warmer, more human, more interesting, more inviting. Gela’s dancers were, despite the shielding of their faces, women of flesh and blood and their movement connected one with resonant questions about meaning inherent in or imposed on indigenous dance.

Pennsylvania Avenue, The Playhouse, Sydney Opera House, until May 22.

Spring Awakening, ATYP Studio 1, Wharf 4, Sydney, until May 14.

The Wizard of Oz, various cities in New Zealand until June 12.

We Will Rock You, Lyric Theatre, Sydney, until June 26 and then touring Australia into 2017.

The Wizard of Oz, Royal New Zealand Ballet

St James Theatre, Wellington, May 4.

The Wizard of Oz has had quite a journey on its way to Royal New Zealand Ballet and the St James Theatre in Wellington, New Zealand’s capital. The ballet was originally conceived for Florence’s MaggioDanza and got all the way to the dress rehearsal. Then the ceiling of the theatre fell in and opening night had to be abandoned. The work never made it to the Florence stage. Francesco Ventriglia, who choreographed The Wizard of Oz and was also MaggioDanza’s artistic director at the time, doesn’t mention in his RNZB program note that the bad luck in Florence continued. MaggioDanza operated under the umbrella of Maggio Musicale Fiorentino and when drastic cost-cutting was needed, a decision was taken in 2013 to close the dance company. Finito.

But it’s an ill wind and all that. Ventriglia was unexpectedly at liberty to consider moving to RNZB when it was looking for an artistic director to succeed Ethan Stiefel, the American former dancer and choreographer who opted not to continue in Wellington after his initial three years was up. Ventriglia arrived in late 2014 to run the national ballet company so it was too late for him to have any impact on repertoire for 2015 (Stiefel programmed last year). In one sense, therefore, 2016 is Ventriglia’s debut. He started with a dynamic triple bill, Speed of Light, and has followed up with what he can legitimately call a world premiere. One of his own creations, The Wizard of Oz – now extended from one act to two – finally got that opening night.

Lucy Green and Jacob Chown

Lucy Green and Jacob Chown in The Wizard of Oz. Photo: Evan Li

The Wellington audience liked what it saw, responding with lusty cheers and prolonged foot-stamping on the wooden floors of the St James.

As with many (most?) new story ballets it could do with some tweaking but already it is a delightful piece of fantasy with a warm, inviting young heroine. It’s gorgeous to look at too, in Gianluca Falaschi’s bold, witty design that makes dramatic use of colour. There is a sparkling Art Deco Emerald City awash with sequins, a poppy field embodied by bewitching women in sumptuous red gowns and the dazzling realm of the Princess of Porcelain (what Oz writer L. Frank Baum called the Dainty China Country), with its women in crisp white tutus decorated with delicate china-blue tracery. A lovely touch is that Dorothy’s gingham pinafore changes hue to suit each new setting.

The choreography is vivid, flows swiftly and is well-tailored to each character, from the floppy, boneless undulations of the Scarecrow to the steely, stabbing legwork of the Wicked Witch. There are no fewer than nine meaty roles (one doubled) and seven featured parts for a company of 32: it’s a lot of dance. There’s no Aunt Em but Uncle Henry features at the beginning and end and gracefully provides a role for RNZB’s living treasure Sir Jon Trimmer, who has been associated with the company for nearly 60 years.

Ventriglia frames the story with a hospital scene in which Dorothy is ill. It’s not a new idea to be sure but effective enough as a device to start things moving without getting into cyclone territory. Multiple doors open, familiar characters arrive and Dorothy’s adventures in a dreamworld begin. And what of Toto? We have seen Dorothy in bed clutching a toy dog. Now, sweetly, she has a larger version of the stuffed animal to accompany her.

Dorothy and retinue go to the Emerald City, meet the Wizard (a handsome young man in an eye-boggling green suit), defeat the Wicked Witch, gain possession of the golden hat that gives Dorothy command over the Flying Monkeys and take a detour into the intoxicating poppy fields. All this is in the first half which, more than the second, would benefit from some adjustments to pacing and clearer connective tissue. It’s an episodic story but nevertheless could hang together more cogently. It’s not always entirely clear, for instance, what governs the Good Witch Glinda’s entrances, exits and interventions.

Balloon credit Evan Li

Lucy Green and William Fitzgerald. Photo: Evan Li

After interval Ventriglia complicates and deepens Dorothy’s quest to find her way home by giving her a taste of grown-up life (thoughts of The Nutcracker are inevitable here). In a lengthy scene in the Kingdom of Porcelain the Prince and Princess display their glamour and sophistication in a formal series of classical variations and in a kind of dream within her dream, Dorothy enjoys a pas de deux with the dashing Prince. Thanks to Gianluca Falaschi she does so in a gingham tutu. Divine. Back in the Emerald City, more experience awaits Dorothy when she dances yearningly with the Wizard, although as we have seen he is a man who doesn’t mind sharing his gifts around. A slightly earlier pas de deux for the Wizard and Glinda shows the two to be quite, ahem, close. A nice touch is to have Prince and Wizard danced by the same man. It’s not exactly textbook L. Frank Baum but it’s enticing ballet.

Ventriglia choreographed to an all-Poulenc score, a piano-heavy patchwork of movements and individual pieces put together with the assistance of RNZB pianist Michael Pansters. It includes parts of the composer’s ballet Les Biches, choreographed by Bronislava Nijinska (1923), and a surprising use of the Organ Concerto (1938). At times the music feels at odds with the movement – the delicately dressed Glinda bourées on to crashing piano chords – and the thickness of some orchestration is too weighty for the purpose to which its put, or at least that’s how it sounded at the opening. Some blame can undoubtedly attach to the use of recordings; unfortunately RNZB doesn’t have the services of a live orchestra for this ballet and it’s a real loss. Many nuances go begging and on opening night the lovely and apposite solo piano work Melancholie (1940) for Dorothy’s pas de deux with the Wizard suffered from being amplified too loudly.

The Ryman Healthcare Season of The Wizard of Oz, by the Royal New Zealand Ballet.

William Fitzgerald as the Prince of Porcelain. Photo: Stephen A’Court

In the opening night cast Lucy Green was a natural for Dorothy. Her unaffected, modest air gives her dancing a very attractive openness. It never, ever looks like hard work even when it is (and she was onstage a lot). Abigail Boyle was the beautifully poised Glinda and Mayu Tanigaito the high-flying Witch of the West. Her elevation is something else. William Fitzgerald (Wizard/Prince of Porcelain) is being given big chances very early in his career and is very much a danseur noble in the making. Laura Jones was an alluring Princess of Porcelain and Loughlan Prior (Scarecrow), Massimo Margaria (Tin Man) and Jacob Chown (Lion) were Dorothy’s invaluable companions on the Yellow Brick Road.

The Wizard of Oz ends in Wellington in May 8 then tours to eight New Zealand cities.