Together Live 2017

Sydney City Youth Ballet with the SYO Philharmonic. The Concourse, Chatswood, Sydney. September 23.

The room is always full of hope and desire when student performers take to the stage, particularly if they are dancers or classical musicians.

Some will have started as young as four or five and certainly by eight or nine. In their early teens they are upping the number of classes they take each week. If they survive the rigours of intense practice and the personal sacrifices required by these all-consuming arts, their late teens see them negotiating the transition from L-plates to a professional career.

Getting in front of an audience is part of the process, hence all those competitions and eisteddfods, but there’s nothing like a proper concert to get the juices flowing for the performers and for those out front. Who doesn’t like getting in on the ground floor of someone’s brilliant career?

Les Sylphides 5_Winkipop Media

Janae Kerr and Alexander Smith in Les Sylphides. Photo: Winkipop Media

Student dance concerts are almost always staged to the unyielding backdrop of recorded music for understandable economic reasons but the lack of living, breathing, energising music is felt. The inaugural collaboration between Sydney City Youth Ballet and the SYO Philharmonia – Sydney Youth Orchestras’ second-most senior orchestra – was therefore an occasion to cheer and with luck it won’t be a one-off.

The Together Live 2017 program was ambitious, featuring two substantial new works, two orchestral numbers and an appearance by guest artists from Queensland Ballet alongside three classical showcases.

Arranged at the back of the stage, the SYO Philharmonic opened with the third movement of Prokofiev’s Symphony No.1 in D Major “Classical”, with Wim Broeckx’s new work Classical Symphony, arranged to Prokofiev, following.

Broeckx made attractive use of a six-member corps of women, whose entrances, exits and graceful patterns formed an ever-changing backdrop to a series of solos and pas de deux for leading men and women. Alexander Smith, 17, formerly with Sydney’s Tanya Pearson Academy and currently studying in Stuttgart, was a little tested by the fast tempo set by conductor Brian Buggy but showed swift, clean beaten steps.

The other premiere was a two-part contemporary piece by Adam Blanch that took the not-unfamiliar theme of environmental degradation and a collapsing society. An atmosphere of unease was well sustained by the choice of music. Blanch used an electronic score by Seymour Milton for part one, Redemption, following with Peter Sculthorpe’s Earth Cry for the second part, The Sky is Falling, in which the SYO Philharmonic had a big success. After a beginning that was perhaps a little too literal in its depiction of isolation, a large group prowled, gathered, dissipated and reformed, each member ferociously committed to the work.

In between those two works there was the chance to see 18-year-old Cameron Holmes tackle the Le Corsaire pas de deux with apparently serene and absolutely justified confidence. Not once but twice he threw in a clean, high-flying 540, that highly acrobatic aerial move borrowed from martial arts that all the men have co-opted these days, or at least those who appear in splashy party pieces such as this. His partner, Audrey Freeman, had poise and maturity well beyond her years. She is only 14 but also emanated sophisticated mystery in Redemption, as did Aaron Matheson.

Le Corsaire 8_Winkpop Media (2)

Cameron Holmes in Le Corsaire. Photo: Winkipop Media

In the Les Sylphides pas de deux Janae Kerr, 16, captured the poetic perfume of Mikhail Fokine’s choreography, seen in floaty balances and a melting backbend over her partner Smith’s shoulder.

The glamour quotient was sky-high in the grand pas deux from The Nutcracker in Ben Stevenson’s version, danced by Queensland Ballet and here performed by QB’s Mia Heathcote and Joel Woellner. I’ve seen Stevenson’s production several times in Brisbane but hadn’t registered just how sensual the woman’s choreography is. Heathcote looked divine, luxuriously swaying her spine and curving her neck this way without losing a sense of classical style. Woellner is a strong, fine dancer who at this matinee wasn’t entirely on form. As always he partnered well.

SCYB artistic director Lucinda Dunn suggested in her program note that Together Live 2017 might be only the beginning of the partnership with the SYO. Certainly the name hints at future collaborations and they’d be most welcome.

SYCB is associated with Tanya Pearson Classical Coaching Academy and the acadamy’s general manager, Nicole Sharp, says she and Dunn had long discussed wanting SYCB to perform with an orchestra. Money, as always, was the issue.

The situation changed when a student’s grandfather dropped by Sharp’s office to have a chat. It was Brian Buggy, who has conducted the SYO Philharmonic since 2007. After much discussion with Buggy and SYO chief executive Yarmila Alfonzetti about music and repertoire, the deal was done.

The SYO Philharmonic – a full symphony orchestra with members ranging in age from 12 to 24 – gave a fearless reading of the Prelude of Act II of Wagner’s Lohengrin, which gives the whole orchestra a bracing workout in about three speedy minutes. The brass and winds were particularly effective – the brass terrific in the Sculthorpe too – but there were strong contributions from all sections.

Lucinda Dunn: Act II, updated

When I spoke to former Australian Ballet principal artist Lucinda Dunn recently about her new career as artistic director of Tanya Pearson Classical Coaching Academy she was deep in rehearsals for Sydney City Youth Ballet’s The Nutcracker. SCYB is where the academy’s students gain performing experience before – if they are good enough and fortunate enough – they join a professional ballet company.

SCYB’s Nutcracker, which I also saw last year, is now seen in a refreshed version and a new venue, Chatswood’s The Concourse, which has a very good auditorium for dance. The production was originally choreographed by Tanya Pearson and features some traditional elements, in particular in the grand pas de deux for the Sugar Plum Fairy and her Prince. This year Act II features new sections by veteran dancer and choreographer Paul Boyd (he is on the teaching staff at Queensland Ballet), including a sophisticated and challenging Arabian dance.

It’s a fast-paced, entertaining production with plenty of opportunities for young dancers to show their mettle. Standing out at the 5pm performance on December 16 were Katherine Sonnekus (Snow Queen), Lana Tramonte (Sugar Plum) and April Maguire (Arabian). Each looks well prepared for a professional career. Gabe Jahnke partnered both the Snow Queen and Sugar Plum with pleasing care and he managed some difficult lifts admirably for one so young. 

The role of Clara is shared between two young women. Both Janae Kerr (Young Clara) and Stephanie Parthenos (Teenage Clara) were vivid, engaging characters in a production that, while relatively modest in scale, has loads of charm and the thrill that comes from seeing the next generation of dancers making the transition from student to artist.

The original story follows:

THE quiet suburban studio where seven young women are taking class is nothing special; just the usual anonymous space with an array of barres and a piano in the corner. What lifts it out of the ordinary is the teacher demonstrating, guiding and encouraging. More than in any other art, ballet is handed down from person to person, body to body, and these students are getting the benefit of the best. As Lucinda Dunn takes them through increasingly complex combinations of the classroom steps – pliés, fondus, ronds de jambe and so on – that form the basic ballet vocabulary, she is passing on wisdom gained from a career unparalleled in Australia. When she retired from The Australian Ballet in April last year she had been with the company for 23 years, 12 of them as a principal artist. She wasn’t just a dancer; she was the company’s longest-serving woman, a prima ballerina who had all the great roles in her repertoire and a devoted following.

Wearing the typical dancer’s layers of practice gear and her long hair caught in a bun, Dunn still looks as if she could step on stage at a moment’s notice. But when she decided to bring the curtain down she had turned 40 and had two young daughters, one of whom had started school. It was time to move on.

Lucinda Dunn_crop

Lucinda Dunn, artistic director of Tanya Pearson Classical Coaching Academy. Photo: Erik Braun

While it’s usual to say a dancer has retired, the word is misleading. Dancers don’t stop working: they reinvent themselves. Some ballet stars extend their stage careers by moving into the contemporary sphere – Sylvie Guillem and Mikhail Baryshnikov pre-eminently – but many stay close to the profession in other ways. They open studios, teach and coach, or train as Pilates instructors, nutritionists or in a host of related fields.

Dunn’s transition was swift. Shortly before her final performances it was announced she would become artistic director of Tanya Pearson Classical Coaching Academy (TPCCA), a highly regarded private training establishment in Sydney’s St Leonards that offers full-time courses for those hoping to enter the profession as well as part-time training for all ages. Dunn studied there before going to the Royal Ballet School and maintained close ties with it: in announcing her appointment, academy founder Tanya Pearson described Dunn as “a brilliant coach and teacher”.

Within a few months of her emotional Australian Ballet farewell – her last role was Manon – Dunn, who has a Medal of the Order of Australia for her contribution to dance, was working at the academy several days a week before officially starting on January 1 this year. “I went from one massive position to the next,” she says over a cappuccino (double shot), speaking in between taking class for full-timers and overseeing a rehearsal for Sydney City Youth Ballet’s The Nutcracker, which opens on December 15. Tanya Pearson founded the company so she could offer performing experience and Dunn is also its artistic director along with her other duties.

As if that weren’t enough, there’s also talk about regenerating Mrs Pearson’s Sydney City Ballet Company. It would have a core of professional dancers but room for senior students too. “We’re in the initial stages of putting together a board, getting not-for-profit paperwork done, talking about logistics,” says Dunn. “It’s just an exciting prospect at this stage.”

The role, which she acknowledges is rather bigger than she had envisaged, is still evolving and expanding – “minute by minute”. Having stopped dancing only recently, it’s not surprising that she loves the direct, hands-on connection of teaching and feels it is her forte. “It’s why I was brought in.” But it is only one part of the picture. As well as taking classes and the preparation that entails, Dunn has responsibility for strategic planning and oversight of the teaching faculty as well as progress meetings with pupils and parents, among other calls on her time such as the upcoming Senior Summer School in January. There is also strong demand, impossible to be met fully, for individual coaching. She is less involved with the busy part-time academy but gives advice and has final say in its decision-making. (Happily she doesn’t have to wrangle spreadsheets and budgets. Business management is the province of general manager Nicole Sharp, daughter of Mrs Pearson, or Mrs P as she is known to all. Mrs P may have withdrawn from day-to-day operations but is still a much-loved presence at the academy, attending a Nutcracker rehearsal on the day I visited.)

Pearson Nuts2

A scene from The Nutcracker, 2014. Photo: Erik Sawaya

There’s a lot to fit into a working day – a day that inevitably stretches into the evening at home with her girls and her husband, Danilo Radojevic – and Dunn says she may have to retreat somewhat from the studio next year to have more time to observe, plan and set goals. “I have spoken to so many artistic directors in my travels this year and when I ask, ‘how many classes do you teach?’, they say: ‘None.’ They don’t do any. I’m trying to do everything.”

Her goal, however, is simple: “I want to attract the best students so I have the best talent to work with and I want to have the best possible training for these students so they have the best possible careers.” The academy’s full-time program (there are 24 enrolled this year) includes classical, contemporary and character classes. There is also a lecture series encompassing dance psychology, nutrition and ballet-specific anatomy. “I wish I’d had more knowledge of that when I started my career. I sort of worked things out as I went along,” says Dunn. Next year TPCCA will offer choreographic workshops.

Dunn would like to see stronger desire and more opportunity for careers in this country. “I would love to see my students go to places within Australia first,” she says, finding it “incredibly sad” that many young competition winners have their eyes on Europe only. She is delighted that a TPCCA graduate, Vida Polakov, was this year accepted as a Young Artist with West Australian Ballet.

It is, nevertheless, the case that many young dancers want to test themselves against the best in international forums and Dunn is excited that two TPCCA students have made it into the final 74 participants (from nearly 300 aspirants) for the 2016 Prix de Lausanne, being held from January 31 to February 7. Dunn will have an unusually privileged position from which to view their efforts. A former winner in Lausanne, she will serve on the 2016 jury alongside international luminaries including former American Ballet Theatre star and now director of Uruguay’s national ballet company Julio Bocca (the jury president), fellow former prix winners Viviana Durante and Marcelo Gomes, Paris Opera Ballet School director Elisabeth Platel and Vaganova Ballet Academy principal Nikolai Tsiskaridze.

But before that there is the annual Sydney City Youth Ballet production to shepherd to the stage for 10 performances. The Nutcracker is a perennial favourite and offers plenty of roles for senior and junior students: mice, snowflakes, partygoers, dolls and denizens of the Kingdom of Sweets among them. For the most experienced students there’s the chance they might be chosen for the Sugar Plum Fairy or the Prince, roles they will aspire to once they join a professional company – and after they’ve served their apprenticeship in the corps de ballet, a likelihood Dunn prepares them for. “In the repertoire classes students don’t just do solo after solo after solo. They do things that require the dancers to come back into line, because that’s where they’ll be,” Dunn says laughing. She started there herself.

During her long career Dunn was often a guest artist with Sydney City Youth Ballet. It is inspiring for students to be able to dance alongside stars and Dunn is continuing the practice, inviting glamorous on- and off-stage couple Chengwu Guo and Ako Kondo, both principal artists with The Australian Ballet, to dance the lead Nutcracker roles at some performances. “They are among the most exciting principals in the world,” says Dunn, who seems content to be looking forward rather than regretting that the Sugar Plum Fairy is now in her rearview mirror.

Lucinda Dunn and Robert Curran in The Nutcracker Photography Jim McFarlane

Lucinda Dunn and Robert Curran in The Australian Ballet’s The Nutcracker. Photo: Jim McFarlane

“It’s definitely a massive amount I’ve bitten off but I like being with the students. Some of these dancers were at my final performance. I want to give them all I know while it’s still fresh in my mind. I’ve still got my leotard and my shoes on so I’m still dancing in some capacity. I suppose it’s why I don’t miss it so much.”

Sydney City Youth Ballet’s The Nutcracker, December 15-20, matinee and evening performances. The Concourse, Chatswood, Sydney.

Naming names: looking back on 2014

I’VE avoided making neat lists of 10 of this and 10 of that in my survey of 2014, which is good when it comes to the individuals who made the deepest impression on me. I decided not to divide the names by art form or vocation. There are dancers, opera singers, actors, actresses, directors and playwrights here and it pleases me to put them side by side. Or more precisely, one after the other in alphabetical order. Included are Australians who live in Europe but were home to perform and non-Australians I saw here.

NOTABLE WOMEN:

Nicole Car (singer, Eugene Onegin, Opera Australia, Sydney, March): Car’s debut as Tatyana firmed up what we already knew. Car is a major, major talent. Her supple, warm soprano sounded as fresh, free and glowing at the extremes as it did throughout and her expression of text and character was most moving. That fact that she’s slim as a reed with a graceful, natural ease on stage does not hurt at all. She made her US debut as Countess Almaviva in The Marriage of Figaro for Dallas Opera in October; next up she sings Marguerite in Faust in Sydney. An exciting prospect.

Misty Copeland (dancer, Swan Lake, American Ballet Theatre, Brisbane, September): Copeland, an African American, has become a powerful advocate for diversity in classical ballet and is on her way to becoming that rare beast – a ballet dancer recognised by the public at large. At 31 (she is now 32), she had waited a very long time to dance Odette-Odile in Swan Lake, and Brisbane had the privilege of seeing her role debut. Call it an out-of-hemisphere tryout if you want to, but I was thrilled to be at this history-making event. Copeland is the first African-American Odette in American Ballet Theatre’s 75-year history. Yes, the first. She had earned it, and she claimed it in Brisbane. She will dance the role for the first time in the US for Washington Ballet in April and then in her hometown, New York, for ABT in June. It will be a huge event, but we saw it first.

Lucinda Dunn (dancer, Manon, The Australian Ballet, Sydney, April): Dunn retired from dance in April after an extraordinary 23 years with the company and more than a decade as a principal artist. She was a true prima, accomplished in every aspect of her art and with huge respect for her audience. Her farewell performance was in Kenneth MacMillan’s Manon, a cornerstone role for ballerinas. She looked as if she could dance for another 23 years, but she was 40 and in an art form that exacts a brutal toll on bodies. As much as balletomanes would have wished it otherwise, she had to choose a moment to call it quits.

Christine Goerke (singer, Elektra, Sydney Symphony Orchestra, February): The American dramatic soprano was electrifying in the SSO’s exceptional semi-staged production, pacing the stage like a lioness kept too long in too small a cage. Her opulent voice was transfixing and boldly rode the tsunami of sound produced by the stupendous orchestral forces conducted by David Robertson.

Caitlin Hulcup (singer, Iphigénie en Tauride, Pinchgut 0pera, Sydney, December): Gluck’s ravishing opera is rarely performed here and Pinchgut did it great honour. In the title role, mezzo Hulcup – an Australian who performs mainly in Europe – was heart-stoppingly good, singing with passion, glorious control and silvery beauty.

Lindy Hume (director, Iphigénie en Tauride, Pinchgut 0pera, Sydney, December): The City Recital Hall in Sydney where Pinchgut Opera performs each year is what it says – a hall. Hume’s direction of Iphigénie on Tony Assness’s powerfully conceived (and of necessity static) set was a model of dramatic clarity and restraint, giving the tempestuous emotions of the piece room to breathe.

Lauren Langlois (dancer, Keep Everything, Chunky Move, Sydney, July; and The Complexity of Belonging, Chunky Move, Melbourne, October): Langlois trained as a dancer and she’s very fine one. She also a knockout with text, as Antony Hamilton’s Keep Everything and Anouk van Dijk and Falk Richter’s Complexity of Belonging proved. Her ability to combine the two disciplines in spectacular fashion had audiences shaking their heads in disbelief.

Meng Ningning (dancer, Romeo and Juliet, Queensland Ballet, July): There were many fine performances in Queensland Ballet’s audacious presentation of Kenneth MacMillan’s Romeo and Juliet but the revelation was QB principal Meng, who was partnered with superstar Carlos Acosta for his two performances. Meng has always appeared to keep her emotions locked well within but Romeo and Juliet produced the key and the release was tremendous. Even when Meng was the excitable young girl of her first scene there were intimations of tragedy in those questioning eyes, and her long, silken limbs always seemed to be searching and reaching for the overwhelming feelings Juliet discovered could exist.

Joanna Murray-Smith (playwright, Switzerland, Sydney Theatre Company, November): This is Murray-Smith in magisterial form. While rigorously maintaining the style and appearance of a naturalistic – even old-fashioned – bio-drama, Switzerland morphs into a psychological thriller and then what Dostoevsky called fantastic realism. It’s risky, surprising and very apt as Murray-Smith’s play takes on the qualities of Patricia Highsmith’s art, in form and atmospherics, and applies them to the writer’s life.

Hiromi Omura (singer, Madama Butterfly, Handa Opera on Sydney Harbour, March): Omura was a devastating Butterfly, singing with lyric beauty and spinto charge. She also unerringly charted Butterfly’s trajectory from radiant bride to the trusting wife who is discarded and utterly bereft. The expansive stage of rolling hills (Act I) and a crappy housing development (Act II) gave Omura a stunning canvas. I have never seen a Butterfly so convincingly transformed from submissive girl to a whirlwind of despair as her child is taken from her.

Pamela Rabe (actress, The Glass Menagerie, Belvoir, September): I was less enthusiastic about Eamon Flack’s production of the Tennessee Williams classic than were many others, but there is no dispute about Pamela Rabe as Amanda Wingfield, living on the edge of her nerves and trying vainly to keep up appearances. As always, Rabe is able to make one sympathise with a character who is in many ways monstrous. Amanda’s rage and disappointment were contained enough to allow her to survive, but heard in every garrulous outpouring. But Rabe is incapable of presenting a character for whom you feel no pity, and that was the case here.

Sue Smith (playwright, Kryptonite, State Theatre Company of South Australia and Sydney Theatre Company, Sydney, September): Smith’s beautifully named Kryptonite throws together politics, sex, international business and race. Lian and Dylan meet at university. She is Chinese and scrambling to survive in a system that lets her study here but not earn enough money to survive. He’s a laidback Australian devoted to surfing. They make a connection that, over the next 25 years, waxes, wanes and is buffeted by external forces. There are so few plays that explore our regional issues and identity, and this is a beauty.

Christie Whelan-Browne (Britney Spears: The Cabaret, Sydney, August): The train wreck that was Britney Spears’s earlier life is well known. Whelan-Browne’s rendering of that life, lavishly illustrated by Spears songs, didn’t descend to ridicule. Yes, it was often funny, but at the same time exceptionally compassionate. An outstanding performance.

Doris Younane (Jump for Jordan by Donna Abela, Griffin Theatre Company, Sydney, March): I loved the whole Jump for Jordan cast (and the play) but Doris Younane was outstanding. She expressed with heart-rending anguish the plight of a migrant who has never felt Sydney was her home. How does one leave behind everything that has been dear – family, traditions, language, the sights, smells and sounds of home – and plant oneself in new and alien soil? This performance put you in that place.

NOTABLE MEN:

Declan Greene (playwright, Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company, Sydney, May): Greene takes two uneasy souls and exposes their every weakness and slender hopes. A man and a woman meet via a dating site. He is married and obsessively into pornography, she is a nurse with an out-of-control shopping habit. Both have a core of self-loathing covered with a thin layer of coping. He is the greater fantasist and she the more self-aware but they’re both in deep, deep trouble. I can’t stop thinking about this play and how acutely it expresses the inner lives of desperate people.

Chengwu Guo (The Nutcracker, The Australian Ballet, Sydney, December): Guo is something of a human flying machine and in The Nutcracker there were times when you’d swear he was suspended by invisible wires, such is his elevation and ability to hang in the air. Guo added the plushest of silent landings and pristine pirouettes for a performance of technical brilliance, but of course The Nutcracker isn’t just about the moves. Guo also showed he can be a Prince – always good news in the ballet world.

Sean Hawkins and Andrew Henry (Howie the Rookie, Red Line Productions in association with Strange Duck Productions and Sydney Independent Theatre Company, Old Fitzroy Theatre, Sydney, October): Mark O’Rowe’s double monologue is sometimes performed by a single actor; here the duty was divided. The play is in two equal and equally exhilarating parts – two sides of the one coin – so let’s consider Hawkins and Henry together. In Howie the Rookie Hawkins and Henry guided the audience through a toxic night in an insalubrious part of Dublin, taking us on a wild ride expressed in some of the most violent, vulgar and baroque language you’re likely to encounter. Both actors were scintillating.

Jay James-Moody (The Drowsy Chaperone, Squabbalogic Independent Music Theatre in association with Hayes Theatre Co, March): Jay James-Moody may be considered rather too young for Man in Chair, the narrator and orchestrator of this wacky, heartfelt homage to the light-hearted musical theatre of bygone eras. Nevertheless he succeeded brilliantly. While he was arguably too fresh to be the quintessential bitter and bitchy show queen that is Man in Chair, he brought unexpected and memorable poignancy to the part.

Simon Laherty (Ganesh Versus the Third Reich, Back to Back Theatre, Sydney, March): Finally this wonderful piece came to Sydney. The story of the Elephant-headed god Ganesh’s quest to reclaim the swastika from the Nazis is typically explosive Back to Back subject matter as most of the company’s performers would have been considered extermination material by Hitler. It’s a wonderful ensemble piece, but nevertheless Laherty made, as he has before, the deepest impression on me. His deliberate voice, grave demeanour and the clarity and poise of his interactions made an indelible mark.

Josh McConville (actor, Noises Off, Sydney Theatre Company, February): The thing is, I could hardly tell you what McConville looks like. He is a theatre chameleon, shape-shifting into whatever is required and so very good at it all. He’s played some pretty desperate men and perhaps his character in Michael Frayn’s farce Noises Off could be described as such, but what fun to see McConville doing it for laughs. His stair work was exquisite.

Steven McRae (Romeo and Juliet, Queensland Ballet, Brisbane, July): The Australian-born principal dancer with London’s Royal Ballet showed why he is one of the most admired Romeos on the stage today. The impulsive, passionate youth of this dance-drama could have been made for him, so natural was the fit. McRae has a slight, elegant figure but radiated huge amounts of energy, taking the stage like a whirlwind. His crystal-clear line, the way he hovered in the air for precious moments in a turn or jeté, his vibrant attack and heady speed were treasures in themselves but given point and purpose by the way these technical gifts created character.

Steve Rodgers (actor, Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company, Sydney, May): Who better to illuminate Declan Greene’s play than Rodgers? Although the unnamed character he played is deceptive and cunning, Rodgers willed us to find some empathy. There was much before us that was messy, humiliating and ugly; Rodgers didn’t shy from the darkness but also revealed the pitiable emptiness of the life.

Richard Roxburgh (Cyrano de Bergerac, Sydney Theatre Company, November): Not a lot needs to be said here. Roxburgh’s Cyrano was darkly self-aware, exceptionally witty and heart-breaking. A superlative performance from one of the greats of our stage.

Damien Ryan (artistic director, Sport for Jove, Sydney): Ryan’s Sport for Jove productions always reveal fresh insights into classic texts, and this year’s Henry V, which he directed for Bell Shakespeare was perhaps his best. Which is saying a lot, because his All’s Well That End’s Well for Sport for Jove was magnificent.

Monday: Best of the best

Lucinda Dunn, Cojocaru and Kobborg

The Australian Ballet, Sydney Opera House, April 22 and 23

AS the curtain came down on Lucinda Dunn’s farewell performance for The Australian Ballet she wept, the streamers flew, the audience roared and an era ended. Dunn has been with the AB for 23 years, longer than any other ballerina, and was a principal artist for more than a decade.

As she danced the title role in Kenneth MacMillan’s Manon she looked as if she could dance for another 23 years, so immaculate was her artistry and technical command. But she is 40 in an art form that exacts a brutal toll on bodies. As much as balletomanes would wish it otherwise, she had to choose a moment to call it quits.

Lucinda Dunn and Adam Bull in Manon

Lucinda Dunn and Adam Bull in Manon

Dunn did it while at the pinnacle of success and with her formidable gifts intact. She has long been the AB’s prima ballerina, the best of the best. That’s why fans queued in the dawn light (or earlier) on the day of her last show to secure standing room tickets, and why there was a lengthy line for box office returns in the evening. There were doubtless few. The Joan Sutherland Theatre at the Sydney Opera House was, of course, over-flowing.

That Dunn has had a special relationship with her audience was borne out by the long and tumultuous ovation she received. As she waved goodbye, many in the house tearfully waved back. Dunn has been an old-school star, always dressed immaculately to greet her fans and conscious of her obligations. She has given them great respect and they have loved her in return. Dunn was officially recognised this year when awarded the Medal of the Order of Australia.

Dunn had all the major classical works in her repertoire, having a particular triumph as Aurora in Stanton Welch’s version of The Sleeping Beauty when the AB toured to ballet-mad Tokyo in 2007. The role of Clara in Graeme Murphy’s Nutcracker – The Story of Clara was one of Dunn’s favourites and she was superb in contemporary work as well. There was nothing she couldn’t tackle with distinction as she proved last year when appearing in works by George Balanchine and Wayne McGregor, choreographers who could not be more different.

She was fortunate, too, in having one of ballet’s holy grails: she shared with Robert Curran, who became a principal artist on the same day as Dunn, a long and exceptionally fruitful artistic relationship. Curran retired from the AB in 2011 with a reputation as a stellar partner.

Lucinda Dunn and Robert Curran in The Nutcracker. Photo: Jim McFarlane

Lucinda Dunn and Robert Curran in The Nutcracker. Photo: Jim McFarlane

Dunn has been a role model for younger dancers in many ways, but perhaps none more potent than her return to performing at the highest level after two periods of maternity leave. Dunn’s husband, Danilo Radojevic, brought young daughters Claudia and Ava onstage to share Dunn’s final moments as a dancer.

Dunn’s retirement doesn’t end her association with ballet. She was recently announced as artistic-director designate of the Tanya Pearson Classical Coaching Academy and Sydney Youth Ballet. She takes up the position on January 1.

The night before Dunn farewelled an audience that didn’t want to let her go, Alina Cojocaru and Johan Kobborg were guest artists in Manon and showed a wildly appreciative full house why they form one of ballet’s most treasured partnerships.

As leading dancers roam the globe to work with different companies, the building of a special artistic relationship that endures and deepens is increasingly rare and precious. At the most fundamental level Cojocaru and Kobborg look as if they belong together, as if they are constantly drawn to one another and that they understand one another profoundly. They undoubtedly do, as they are also offstage partners, but such a relationship doesn’t necessarily translate to the stage.

It did here. Myriad piquant individual details within a seamless overarching interpretation built a picture of a steadfast, deeply anguished lover and a sweetly innocent woman whose sensuality is awakened and is her downfall. It was fascinating to see Cojocaru transformed by Manon’s initiation into sexual delights. She danced as if in a dream, quietly intoxicated. The sumptuousness of her upper body was exquisite, yet there always remained something of the youthful radiance of the girl who rushed into a courtyard to spend time with her brother before she entered a convent.

The artistry was of the highest order. Those audiences lucky enough to see one of Kobborg and Cojocaru’s two performances with the AB were greatly blessed.

Lucinda Dunn – a tribute

IT is not a great surprise that Lucinda Dunn has chosen to retire from The Australian Ballet next month, but it is a great loss. While she has had some recent injuries and has been selecting her repertoire carefully, these are not unusual circumstances when a dancer has had as lengthy a career as Dunn’s. And when she has been on stage she has been peerless. Her brilliant technique makes her a strong artist, but never a cold one. She flows like liquid gold: there is sensual warmth and radiance in her dancing, along with stage-filling grandeur that serves whatever she is dancing and makes it important. It is never self-serving.

Lucinda Dunn and Robert Curran in The Nutcracker. Photo: Jim McFarlane

Lucinda Dunn and Robert Curran in The Nutcracker. Photo: Jim McFarlane

Lucinda Dunn as Kitri in Don Quixote. Photo: Lynette Wills

Lucinda Dunn as Kitri in Don Quixote. Photo: Lynette Wills

But after 23 years with the AB as its longest reigning ballerina, Dunn, 40, has decided it is time to go – the fact that her older daughter, Claudia, is five is surely relevant, and Dunn and her husband Danilo Radojevic also have a two-year-old daughter, Ava.

Dunn opens in Kenneth MacMillan’s Manon in Melbourne tonight and will farewell the stage at the end of the Sydney season of this ballet. She made her debut in the role only last month, in Brisbane, taking on new challenges to the end. (When The Australian Ballet last staged Manon, in 2008, Dunn was on maternity leave.)

Lucinda Dunn and Adam Bull in Manon

Lucinda Dunn and Adam Bull in Manon

Releasing the news of Dunn’s retirement yesterday AB artistic director David McAllister said Dunn had been “a shining beacon of The Australian Ballet – a true ballerina”. She was awarded the Medal of the Order of Australia at the beginning of this year for service to the performing arts through ballet.

She will continue this service next year when, on January 1, she becomes artistic director of the highly regarded Tanya Pearson Classical Coaching Academy and Sydney City Youth Ballet. Dunn studied with Mrs Pearson from the age of 13. Mrs Pearson will be known as Founder and continue her presence at the academy.

Dunn said in a statement yesterday she hoped to “enrich and challenge” the academy’s students, which she surely will.

I have watched Dunn for her entire career, seeing her progress from being an exceptionally promising young dancer with killer technical gifts in her earliest days to the great artist she is today. At the risk of sounding like Woody Allan’s Zelig (although I hope not quite as colourless), I have been present at many of her most important performances and milestones, including the lunch in 2001 at which she was promoted to principal, and the glorious Aurora she gave to huge acclaim in Tokyo in 2007 in Stanton Welch’s production of Sleeping Beauty, partnered by Robert Curran.

Curran – how we miss him! – was promoted to principal the same day, and I will never forget Dunn’s happiness at his elevation as well as her own.

How quickly it goes.

Dunn gives her final performance with the AB on April 23 at the Sydney Opera House.

Manon

The Australian Ballet, Brisbane, February 21

MANON, which premiered 40 years ago next month (March 7, 1974), is in an exclusive club, the handful of full-length 20th century ballets that have insinuated themselves firmly into the repertoire. The Australian Ballet doesn’t exactly have it on high rotation but, including this year, Manon has shown up five times in the 20 years since the AB first presented it, including a short Melbourne Festival season guest-starring Sylvie Guillem, for whom the title role was a signature one. Indeed, so well does Manon suit Guillem that despite her almost exclusive concentration on contemporary dance these days she appeared in the role as recently as 2011, with La Scala when she was 46.

Lucinda Dunn and Steven Heathcote in The Australian Ballet's Manon

Lucinda Dunn and Steven Heathcote in The Australian Ballet’s Manon

At the AB notable Manons have included Vicki Attard, Justine Summers, Kirsty Martin, Amber Scott, Rachel Rawlins and others – I have seen perhaps a dozen Manons and they all were quite different, as they need to be. One doesn’t go to Manon after Manon to remind oneself of the steps, just as repeated viewings of opera or hearings of a symphony are not undertaken so the experience can be repeated exactly. The role of Manon is greatly coveted because of the flexibility it offers, and for the unparalleled stream of shiveringly sexy pas de deux Kenneth MacMillan lavished on his heroine and her lover, the student des Grieux. Manon’s is a story of choices made and consequences suffered, with a flesh-and-blood immediacy that sets her quite apart from the supernatural and fairytale heroines who dominate the classical stage.

The AB’s 2014 season opened in Brisbane on Friday with Manon, featuring Lucinda Dunn in what was – and this is scarcely believable – her debut in the role. Dunn has been with the AB for 23 years and in the top rank since 2002 but was on maternity leave in 2008 when the production last surfaced. In 2001, the Melbourne Festival year, it was Guillem’s show. In 1999 Dunn was a senior artist and various principals had claims on the part. The wait was worth it. Dunn’s artistry deepens with each passing year and she must have a doppelganger in the attic absorbing the physical wear and tear that bedevils ballet dancers.

As the ballet opens Manon is on her way to join a convent, not because she has a vocation but because she is poor. She is diverted from this grim fate by chance, swept away by the handsome poet who is, alas, also impoverished. An opportunity to move up the greasy pole of prosperity is taken as money and slightly shop-worn glamour trump penniless young love. It will not end well. Now well versed in the ways of seduction and offered material rewards for it, Manon rides high in demi-mondaine society, falls low and pays with her life, as women must in 18th century operatic stories such as this. Easier to order the moon to relinquish control of the tides than to have the woman prosper, even though she is taking the only path open to her. Well, other than the convent.

In her first performance Dunn was wonderfully alert and active, the driver of her own destiny in co-operation with her brother, Lescaut. This is another role that can be played in a variety of ways – Lescaut can be brutal and controlling, or an amoral cad, or a louche charmer who is cannily opportunistic when he’s not drinking too much, which is the way it felt on Friday. The rakish dash of Lescaut’s choreography suited the first-cast Lescaut, Andrew Killian, extremely well and he and Dunn seemed like siblings, making sense of actions that can seem unmotivated in MacMillan’s headlong dash through the story’s reversals. Their trio with predatory Monsieur GM – scarily attractive Steven Heathcote, himself a former des Grieux of great note – was superb.

Lucinda Dunn and Adam Bull in Manon

Lucinda Dunn and Adam Bull in Manon

It was always worth focusing on the key players even when there was abundant colour and movement to distract attention. While the ensemble work is undeniably lively it is mostly inferior flim-flam. In what is supposed to be an upmarket brothel, for instance, the cavortings of MacMillan’s cutsey-pie scrubbers, decked out in appalling wigs, could not be less sexually alluring. In the opening scene there are cart-wheeling lads with grubby faces who are exceptionally cheerful, as such characters usually are in balletland, and entirely unbelievable. And they all conveniently go to sleep at the very same time so Manon and des Grieux can have their first gorgeous pas de deux.

It was much better to watch Lana Jones, dancing with wit and diamond brilliance as Lescaut’s mistress, and the des Grieux of Adam Bull, who started cautiously but got better and better – it will be good to see him after he has a few performances under his belt. That first long, slow solo, in which des Grieux yearningly offers himself to Manon is a tricky one and one could see Bull negotiating the steps rather than the character. His partnering in the first bedroom pas de deux had a couple of clunky moments, and then he seemed to click into gear and submit to the passionate drive of the piece.

The silken way in which Dunn approached the choreography excluded any element of coquettishness, a quality that is brittle and artificial. It is perfectly reasonable to treat Manon as a version of Thackeray’s Becky Sharp, the knowing little madam whose first action on leaving school is to toss the farewell gift of a bible straight out the window of her carriage. But that kind of hard-edged calculation is not what Dunn showed. The luscious back bends and delicious ripples in the shoulder spoke of deep pleasure in Manon’s sexual awakening and the goodies it delivered. She didn’t have to work hard at attracting men; she just did.

The production, designed by Peter Farmer, looks suitably sumptuous on the stage of Queensland Performing Arts Centre’s Lyric Theatre, although I felt at one or two moments the lighting was brighter, and less evocative, than remembered, particularly in the final scene in the Louisiana swamps where Manon meets her end. Still, much of the staging looks like a luscious 18th-century painting come to life.

Along with Dunn’s debut, Friday’s performance brought the first opportunity to hear the newish (dating from 2011) arrangement and orchestration of the score by Martin Yates. Bits and pieces of Massenet, but not anything from his opera on this subject, were sourced and arranged for MacMillan by Leighton Lewis with input from Hilda Gaunt. It worked reasonably well, but after its overhaul the material now sounds more coherent and has a better sense of dramatic build.

The opening pages of the score have an attractive gauzy quality and the sense of transparency continues as a way of underscoring the fragility of the Manon-des Grieux romance before it builds into an outpouring of sexual urgency. The key melodies are lovely and work well as returning motifs that help the drama cohere, and overall Yates seems to have toned down aspects that could fall into the overly sentimental or vulgar category. I hope to get a few more hearings under the belt when Manon comes to Sydney, although undoubtedly one heard the music to greater advantage in the Lyric Theatre. Certainly it was very handsome on Friday in the hands of the Queensland Symphony Orchestra, conducted by the AB’s music director Nicolette Fraillon.

In the end, though, it was Dunn’s night as a woman who delighted in her power and thrilled to the sex, the gifts and the attention but most of all, I think, had that most human of desires: to belong.

The AB opened the year in Brisbane for scheduling rather than strategic reasons, but ballet is becoming a hot commodity here. With Queensland Ballet’s star-studded MacMillan Romeo and Juliet coming up and the American Ballet Theatre visit hot on its heels, you’d have to say Brisbane is now ballet central.

Queensland Performing Arts Centre until March 1. Melbourne March 14-24, Sydney April 3-23.

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

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?