Tharp, Ratmansky, Robbins

American Ballet Theatre, Lyric Theatre, Brisbane, September 5 and 6.

TWYLA Tharp was never one to make things easy for dancers or viewers. It would take many more than the two shows I saw in Brisbane to absorb even a fraction of the beauties and complexities of Bach Partita, but it took only one performance to prove the work’s worth. It’s a knockout.

Bach Partita is grand in scale, full of delicious detail and made with superb craftsmanship. There may be a great deal going on but no sense that the structure will not hold. It is a worthy partner for its score, Bach’s glorious Partita No.2 in D minor for solo violin, and was played wonderfully from the pit by Charles Yang, a true collaborator with the dancers.

Tharp’s use of three principal couples, seven soloist couples and a corps of 16 women acknowledges the conventional hierarchy of ballet although Bach Partita is essentially a neo-classical piece with modern dance accents and attitudes seamlessly absorbed. The stage vibrated with energy as leading couples, soloists, flocks of corps women and secondary couples constantly changed the movement dynamics, attentive to those of the music.

Stella Abrera, Calvin Royal III, Gillian Murphy, Marcelo Gomes, Misty Copeland and James Whiteside in Bach Partita. Photo: Darren Thomas, Photo Co

Stella Abrera, Calvin Royal III, Gillian Murphy, Marcelo Gomes, Misty Copeland and James Whiteside in Twyla Tharp’s Bach Partita. Photo: Darren Thomas, Photo Co

The first cast was led by Misty Copeland and James Whiteside, Gillian Murphy and Marcelo Gomes and Stella Abrera and Calvin Royal III, each with a different mood (sensual, vibrant, dramatic) but also able to come together for some moments before spinning off on their own tangents. I loved Tharp’s use of the secondary couples and the corps, whose comings and goings add texture and intrigue to the world of the main couples.

The great glamour and individuality of the first cast wasn’t entirely replicated by the second cast, featuring April Giangeruso and Eric Tamm, Paloma Herrera and Joseph Gorak, and Isabella Boylston with Craig Salstein, although each was equal to the very testing technical demands of the ballet. But it was clear from seeing the first performance that Bach Partita also demands the mysterious but ultra-potent quality of distinctive stage presence. Herrera has it, of course; the others less so. That said, soloist Gorak is a particularly special dancer who has much ahead of him.

Bach Partita premiered in December 1983 and was not revived until last year. It is a mystery why that should be so, but it’s back and it provided a rich, stimulating opener to this triple bill.

Three Masterpieces was a program designed to give a snapshot of American Ballet Theatre’s nearly 75-year history and included one much earlier work than Bach Partita and one much newer. Alexei Ratmansky’s Seven Sonatas was made in 2009 to solo piano pieces by Domenico Scarlatti, exquisitely played on stage by Barbara Bilach. The luminous music was interpreted by three couples whose interactions were playful, eloquent, romantic and occasionally something a little darker. There may have been no narrative but there were many stories. Although Ratmansky very much has his own voice as a choreographer Seven Sonatas is somewhat reminiscent of Jerome Robbins’s Dances at a Gathering, which is no bad thing.

Joseph Gorak in Seven Sonatas. Photo: Darren Thomas, Photo Co

Joseph Gorak in Seven Sonatas. Photo: Darren Thomas, Photo Co

The first cast included Abrera and Royal paired again (they look so silken together), Gorak with fellow soloist Christine Shevchenko and Sarah Lane with the miraculous Herman Cornejo. The second cast gave an opportunity to see principal Hee Seo (with Alexandre Hammoudi) in a much more relaxed mood than she had been for the Swan Lake opening and to see lovely corps members Luciana Paris and Arron Scott together. Principal Veronika Part was partnered with corps member Blaine Hoven, who had been such a worried-looking Benno in the Swan Lake premiere. Here, in his poetic responses, it was possible to see what ABT artistic director Kevin McKenzie sees in him.

The program came to a happy close with Robbins’s Fancy Free (1944), in which three sailors on shore leave come to a bar to let off steam and flirt with passing women. Its boisterous innocence, buoyed by Leonard Bernstein’s zippy score, was appealing and, in these most difficult times, touching. Casting was top of the line all the way, but it is impossible not to single out Gomes in the second cast. He was funny, charming and incredibly charismatic. I was disappointed not to see him in Swan Lake – he’s a stunning Von Rothbart on DVD – but Bach Partita and Fancy Free were pretty good consolations.

Cory Stearns, Isabella Boylston, Daniil Simkon, Luciana Paris and James Whiteside in Fancy Free. Photo: Darren Thomas, Photo Co

Cory Stearns, Isabella Boylston, Daniil Simkin, Luciana Paris and James Whiteside in Jerome Robbins’s Fancy Free. Photo: Darren Thomas, Photo Co

It was fascinating to see the number of corps members given serious duties in both Swan Lake and Three Masterpieces. Well, they were principal dancer duties. A key reason is that ABT has only three ranks – principal, soloist and corps – so the best of the lowly ranked dancers get great opportunities. On the other hand it does appear difficult for them to enter the soloist ranks. At present ABT has 14 principal artists, only nine soloists and a corps of 60. The competition down there must be ferocious.

A version of this review appeared in The Australian on September 8.

Odette to the power of four

Queensland Performing Arts Centre, Brisbane. August 28, September 3 (matinee), September 3 (evening), September 4.

THE first act of Kevin McKenzie’s Swan Lake ends as evening falls. Prince Siegfried has hurried away from his birthday party with no ceremony, disquieted by the realisation his carefree days are numbered. Because he is about to become king – this is no ordinary birthday; this is his coming of age – his mother has said he must marry.

In McKenzie’s version of this endlessly fascinating ballet there are some aspects of the narrative that are drawn too sketchily and details to quibble over, but after seeing four performances I have been won over by the central idea. With Zack Brown’s storybook designs providing a sumptuous setting, McKenzie creates a fantasy world in which myth can thrive, in which a sorcerer could cast a spell that turns a princess into a swan by day, and in which he can himself shape-shift between monster and suave nobleman.

Act III of Kevin McKenzie's Swan Lake. Photo: Rosalie O'Connor

Act III of Kevin McKenzie’s Swan Lake. Photo: Rosalie O’Connor

The atmospherics are nowhere better captured than at the Act I finale, in which the peasants who have been enjoying Siegfried’s festivities are the last to leave. Without the aristocracy present and bathed in Duane Schuler’s lustrous lighting design, they start gamboling more freely as the light fades, picking up wine goblets to take with them as they depart. I was reminded of Matisse’s painting La Danse, which celebrates the primal joy of communal celebration, and it is an image I will carry with me for a long time.

All this can only work, of course, if the dancers persuade one to enter their imaginative realm.

There was much to interest balletomanes. Misty Copeland made her debut as Odette and Paloma Herrera gave what was possibly her final performance in the role – the decision will come when Swan Lake is staged in ABT’s next season, which will be Herrera’s last (she recently announced her impending retirement). Newly minted principal artist Isabella Boylston appeared (unfortunately I missed her and Daniil Simkin, but people raved; I also missed Veronika Part). Martine Van Hamel, former ABT great, played the Queen Mother at some performances and radiated command. Recently elevated soloist Joseph Gorak showed why he has been plucked from the corps and two men still in the corps, Arron Scott and Calvin Royal III caught the eye. Yet another corps member, Thomas Forster, made a saturnine, panther-like Von Rothbart in several casts.

Three conductors shared Swan Lake duty over the nine performances, two of them with Australian connections. Music director Ormsby Wilkins was born in Sydney and was The Australian Ballet’s resident conductor in 1982, thereafter being a frequent guest conductor while making his career in the northern hemisphere. ABT principal conductor Charles Barker was the AB’s music director from 1997 to 2001 and is married to former AB principal dancer Miranda Coney. Each directed the Queensland Symphony Orchestra quite differently, and each time the QSO acquitted itself handsomely.

The ABT season, the company’s first in Australia, unfortunately got off to a lacklustre start. There may have been extenuating factors. David Hallberg was to have partnered Hee Seo on the August 28 opening night but withdrew relatively late to have ankle surgery. Cory Stearns was moved in. Whether it was jetlag or just one of those unfathomable matters of chemistry who knows, but Seo and Stearns failed to catch fire. Seo has many beautiful qualities as a dancer but looked uninvolved, Stearns operated on one supercilious level and the relationship was unprofitable. Alexandre Hammoudi’s Act III Von Rothbart was therefore left to provide the fireworks, and if Von Rothbart is the highlight of the show there’s a problem. The corps was untidy too. Not a great night all round.

Misty Copeland as Odile. Photo: Darren Thomas, Photo Co

Misty Copeland as Odile. Photo: Darren Thomas, Photo Co

I returned a week later to see Copeland’s historic debut as Odette. Tucked away at a Wednesday Brisbane matinee she gave an impassioned performance that brought the house to its feet. Her Odette was intense, warm and dramatically alert; her Odile sparkled seductively. It was a wonderful first performance. Indeed, it was the only one to bring tears to my eyes, even though her Siegfried, Hammoudi (also making a debut) was off form technically. Still, he partnered beautifully, and that ultimately mattered most.

That evening (September 3) Gillian Murphy gave an entirely different performance, imbued with the deep, deep understanding she has absorbed over many years. She, more than any other I have seen, evoked the eternal nature of Odette’s predicament. She was captured aeons ago and there is nothing but sorrow in her future. All those years in Von Rothbart’s thrall have altered her irrevocably. Murphy’s Odile was equally distinctive – fascinatingly hard, cold and vindictive. James Whiteside’s all-American boy Siegfried (divinely danced, with a blinder of an Act I solo) didn’t stand a chance.

Gillian Murphy in Swan Lake Act III. Photo: Gene Schiavone

Gillian Murphy in Swan Lake Act III. Photo: Gene Schiavone

On September 4 Paloma Herrera was stupendous, filling the stage with old-world glamour of a kind exceptionally rare these days. She took much of Odette’s choreography incredibly slowly – David LaMarche conducted – and claimed rapt attention at every instant. She commanded the stage more as a distillation of Swan Lake’s themes than the embodiment of two opposing characters. She seemed somehow abstract, yet entirely mesmerising. Odile has a balance on pointe in arabesque that often lasts only a split second; Herrera held it for an age: poised, implacable, timeless. Herrera has been a principal with ABT for 20 years and looks as if she could dance another 20. If it turns out this was her swan song, if you will, it was a great one.

Paloma Herrera in Act II of Kevin McKenzie's Swan Lake for ABT

Paloma Herrera in Act II of Kevin McKenzie’s Swan Lake for ABT

Herrera was partnered by Stearns, whose dancing was as handsome and velvety as it had been on opening night but this time he was engaged and vivid. He looked an entirely different man. I’m sometimes asked how I can go to the same show again and again. It’s because it’s never the same show, not ever.