Murphy: The Australian Ballet

Sydney Opera House, April 6 (evening) and 11 (matinee).

It would have been the easiest thing in the world to give Graeme Murphy a conventional gala to celebrate his 50 years of association with The Australian Ballet, the company he joined as a member of the corps de ballet in 1968. The idea for the tribute came to TAB artistic director David McAllister when he decided to revive the choreographer’s Firebird (2009). The straightforward way to go would have been to precede Firebird with a selection of excerpts from Murphy’s greatest TAB hits’n’memories: Swan Lake, Nutcracker: The Story of Clara, Beyond Twelve, Romeo and Juliet, The Narrative of Nothing for a piece of abstraction and a humorous bit from Tivoli for a change of pace and there’s your first half.

That’s not what happened. Despite the many virtues and gala possibilities of those works, a by-the-book program would have been obvious and utterly safe. In other words, not remotely indicative of Murphy’s expansive, adventurous spirit. The counter-intuitive decision was made for Murphy’s first half to comprise dances not made for TAB, only one of which, The Silver Rose, has been previously danced by the company (it was created for Bayerisches Staatsballet in 2005). The rest of the pieces are from Murphy’s Sydney Dance Company days, where he reigned for more than 30 years and created a vast body of work – much more interesting and challenging for the dancers, undoubtedly, and good for rusted-on TAB audience members to see something from outside the square.

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Kevin Jackson and Lana Jones in Graeme Murphy’s Firebird. Photo: Daniel Boud

There is more coherence in the program than might be evident at first glance. First and most clearly there is the connective tissue built by Murphy’s choreographic style, with the audience able to see his intricate lifts, unusual partnering, witty details, human touches and erotic impulses thread their way through quite different pieces.

The need to move quickly from section to section meant some of Murphy’s most enticing larger productions featuring live music couldn’t be considered but, in the inclusion of Shéhérazade (1979), with its onstage mezzo-soprano soloist singing Ravel’s lush song cycle, and with pianist Scott Davie reprising his central onstage role in sections from Grand, there is a flavour of Murphy’s love for the integration of musicians and dancers. The excerpts from Air and Other Invisible Forces and Ellipse are a reminder of Murphy’s extensive collaborations with Australian composers (here Michael Askill and Matthew Hindson respectively).

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Leanne Stojmenov and Jarryd Madden in Shéhérazade. Photo: Daniel Boud

The first act closer, a handful of sections from Grand, is not only vastly enjoyable but indispensable. Murphy made Grand (2005) in celebration of “the one pianist I adore above all others”, his mother Betty, whose music helped shape his artistic development.

The choice of excerpts from The Silver Rose (based on Richard Strauss’s opera Der Rosenkavalier) to open Murphy is of more value thematically than artistically. The ballet isn’t one of the choreographer’s best and I would be surprised to see TAB program it again, but Murphy’s choice of a work whose theme is ageing, time’s inexorable march forward and the loss of youthful potency was perhaps a wry comment on an occasion celebrating a half-century.

In a short film preceding the first half Murphy speaks of movingly of art’s capacity to transform and of his desire to allow dancers to become the artists they aspire to be. In an interview with me before Murphy opened in Melbourne, he consistently returned to the dancers and what would suit or stimulate them. At the Sydney opening night it was wonderful to see principal artist Lana Jones in ferocious form as the Firebird, a role made on her, and also her perfumed elegance in Shéhérazade, performed in its entirety. Senior artist Brett Chynoweth was Most Valuable Player on opening night, dancing Kostchei in Firebird and seen in three pieces in the first half, including whooping it up with Jade Wood, Jill Ogai and Marcus Morelli in the zany cowboy-flavoured quartet from Ellipse and, with Morelli, doing a sharp, suave Alligator Crawl in Grand (to Fats Waller).

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Brett Chynoweth as Kostchei in Firebird. Photo: Daniel Boud

By and large the key roles on opening night went to dancers of soloist rank or above. An exception was the coryphée (but probably not for long) Callum Linnane, who calmly partnered principal Amber Scott in The Silver Rose. At the Wednesday matinee I attended he also partnered principal Leanne Stojmenov in Shéhérazade with distinction. At that performance the mezzo was Jacqueline Dark, who gave a marvellously seductive account of Ravel’s songs.

The Wednesday matinee was where one could more clearly see the cut of the company’s rising young talent. Some fell a fair way short of the brio and individuality SDC dancers brought to those roles but their delight in this very different way of moving was touching. The male corps member to watch is Shaun Andrews, a lithe young man of serious mien who stood out on opening night in a quartet from Grand (to Gershwin) and danced a sinuous Kostchei at the matinee. An airborne cartwheel looked magically weightless.

Also at the matinee, Jade Wood’s fluttering, frightened Firebird was fruitfully paired with Jarryd Madden’s alert, sensitive Ivan and principal artist Andrew Killian memorably partnered corps de ballet member Yuumi Yamada – gorgeous feet! – in a key pas de deux from Grand. There was a touchingly elegiac mood as Killian is in the latter stages of his career. He has always been a potent presence in contemporary work and this was a timely reminder of his gifts in such repertoire. And what a joy to see soloist Benedicte Bemet back on stage after a long absence, quietly steaming up the stage with Madden in a close-contact duo from Air and Other Invisible Forces.

Ends April 23.

David Hallberg, The Sleeping Beauty

The Australian Ballet, Brisbane, February 25

When David Hallberg returned to the ballet stage in Sydney in November last year, in Coppélia with The Australian Ballet, he was coming out of a two-and-a-half year layoff due to injury, the last 12 months of which he spent in Melbourne working with TAB’s medical team. The choice of Franz as a comeback role was unplanned. Coppélia just happened to be what was in the schedule when Hallberg came to the understanding that his dancing career was not, in fact, over as he had feared. Nevertheless, the light-hearted part (a role debut) was just what the doctor ordered.

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David Hallberg. Photo: Renee Nowytarger for The Australian. Used with permission.

Hallberg is intensely grateful to the Australians who helped him through his dark hours and said he would be back regularly. He meant it. Last week it was announced Hallberg would be TAB’s first resident guest artist and it was in that capacity that he appeared as Prince Désiré in artistic director David McAllister’s production of The Sleeping Beauty in Brisbane on February 25 and 28. The agreement is that he will be in Australia twice a year, with his second 2017 visit coming at the end of the year in Sydney when The Sleeping Beauty has a return season there.

The 34-year-old American’s exceptional beauty of line and sophisticated bearing make him look born to this repertoire. He is a prince among men with his commanding yet seemingly effortless stage presence and he is the epitome of grace and courtliness. Hallberg gave Désiré (Florimund in other productions) a largeness of spirit not always found in a part that has little complexity of character. Désiré seeks love but needs the Lilac Fairy’s guidance to find it, he dances a little to express his yearning, is shown a vision of the lovely Princess Aurora, wakes the sleeping maiden with a kiss and marries her with much ceremony.

Who this man might be is glossed over, but Hallberg filled out the slender material with passion and tenderness. A clue might be found in something Hallberg said late last year. In a conversation with me about his recovery, he said he had come to Australia “so stripped of any sort of optimism”. In what he called his rebirth, he found perspective. “I feel now, as an artist proudly 34 years old, that I have such depth of resilience, and through that an artistic understanding that’s completely different from how it used to be. And it’s not driven by ego any more.”

His Prince Désiré embodied that selflessness and maturity and even though a handful of less than fully realised finishes were a reminder of his long absence from this cruelly exposed repertoire, the radiance of his performance was all-encompassing. His cabrioles, for example, in which he floated his outstretched legs in the air rather than beat them together as most men do, were not only individual but deeply poetic.

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Amber Scott as Aurora in The Sleeping Beauty. Photo: Kate Longley

The quality of his partnering added further layers. Hallberg’s Aurora was TAB principal artist Amber Scott (his Swanilda in Coppélia) and the two look wonderful together, with Scott’s dark, delicate beauty even more lovely when set against the blond Hallberg’s tall, supremely elegant figure. The alchemy of stage rapport is a mystery, but suffice to say Scott seems more lustrous in Hallberg’s company and to project the spun-glass virtues of her dancing more eloquently. Hallberg’s connection with TAB will be wonderful for audiences and he will be a mentor and example for the men of the company, but perhaps his greatest gift is being the partner who brings out the best in Scott. She has often seemed too introverted but Hallberg makes her glow.

The Act III grand pas de deux was as grand as the situation demands yet suffused with intimacy. Individually Hallberg and Scott looked sublime and together they dazzled. I’ve never seen the famous trio of fish dives presented with such élan.

For the rest, with Nicolette Fraillon at the helm the Queensland Symphony Orchestra gave a full-blooded account of Tchaikovsky’s score, senior artist Brett Chynoweth was a buoyant Bluebird, Gillian Revie reprised her striking Carabosse and the fairies, looking a treat in Gabriela Tyselova’s luscious tutus, had more than their fair share of technical jitters. As the Lilac Fairy soloist Valerie Tereschenko showed her great promise and her relative inexperience. Her fragrant upper body and clearly articulated mime were lovely but she had a few too many slips. Another new soloist, Jade Wood, gave a good account of Princess Florine although her fixed expression betrayed tension. Still, the company (this year expanded to 77 in number) has plenty of up and coming talent – and needed it in Brisbane, as a fair handful of more senior dancers had niggles that kept them offstage.

McAllister has made some welcome tweaks to his 2015 production to clarify some of the early storytelling although, as with so many productions, the need to bring the show in at under three hours makes some aspects appear rushed. The excision of most of the Act III divertissements while still giving a flavour of them is astutely done but the account of the court in the Prologue is too abbreviated. That charge can’t be directed at Tylesova’s design, which on each viewing looks more opulent than ever.

Footnote: Hallberg’s Australian commitment is in addition to his other jobs as a principal artist with American Ballet Theatre and the Bolshoi Ballet, although it’s not clear yet when he might be dancing again with the latter. For ABT he is first cast in Alexei Ratmansky’s new Whipped Cream, opening in Costa Mesa, California, on March 15 and he will then dance Onegin and possibly Albrecht in New York in ABT’s May-July season.

The Sleeping Beauty ends in Brisbane March 4. Then Melbourne, June 16-27 and Sydney, November 11-25.