The Australian Ballet and Queensland Ballet reveal 2019 programs

Alice Topp was yesterday named The Australian Ballet’s fourth resident choreographer, joining Stephen Baynes and Stanton Welch, (both appointed in 1995) and Tim Harbour (2014). Topp, a coryphée with the company, is the second woman to be given the title following Natalie Weir. It’s been a long time between drinks: Weir held the post for several years from 2000.

TAB_Aurum_Alice Topp_Photo Kate Longely (5)

Alice Topp, The Australian Ballet’s new resident choreographer. Photo: Kate Longley

Topp was nurtured via TAB’s Bodytorque series, as was Harbour. The choreographic development program has, unfortunately, been put on the backburner after several years of diminishing numbers of performances and participants. Bodytorque was MIA this year and is nowhere in sight in TAB’s 2019 program, announced yesterday.

Still, the Topp appointment is extremely good news and the year’s two new productions are highly enticing – well, if you live in Sydney or Melbourne. Other cities will have to wait. Stanton Welch’s production of Sylvia (a co-production with Welch’s Houston Ballet) brings to the repertoire a ballet never before performed by TAB, and Graeme Murphy collaborates with brilliant designer Kim Carpenter on The Happy Prince, based on the Oscar Wilde story. The Happy Prince will feature a new score by Christopher Gordon.

TAB artistic director David McAllister said yesterday The Happy Prince would be a “beautiful, rich, whole of family experience”. In recent years TAB has put a great deal of energy into reaching young audiences, including offering child-friendly versions of the classics in performances that run for less than an hour. In 2019 the family audience will also be lured with repeats of Peter Wright’s The Nutcracker (Melbourne, Adelaide, Sydney) and Christopher Wheeldon’s Alice’s Adventures in Wonderland (Brisbane, Melbourne).

Having been staged only in Melbourne last year, Topp’s latest work, Aurum, will be seen in Sydney in 2019 as part of the contemporary program Verve. With Topp’s appointment it’s now a resident choreographers’ triple bill: alongside Aurum is Baynes’s Constant Variants from 1997 and Harbour’s Filigree and Shadow(2015). Aurum is also slated to appear at New York’s Joyce Theatre in May.

TAB_Verve_Aurum_Kevin Jackson, Leanne Stojmenov_Photo Jeff Busby

Kevin Jackson and Leanne Stojmenov in Alice Topp’s Aurum. Photo: Jeff Busby

Les Ballets de Monte-Carlo will perform Jean-Christophe Maillot’s contemporary Swan Lake, LAC, as part of TAB’s 2019 season in Melbourne only.

Queensland Ballet has also just announced its 2019 season. The big news is the world premiere of artistic associate Liam Scarlett’s Dangerous Liaisons to the music of Saint-Saëns, co-produced with Texas Ballet Theater. Tracy Grant Lord will design, as she did so delightfully for Scarlett’s A Midsummer Night’s Dream, which QB co-produced with Royal New Zealand Ballet. (QB takes Dream to Melbourne next week.)

QB will bring back the Kenneth MacMillan Romeo and Juliet that was such a success for the company in 2014 and continues its annual Nutcracker tradition by restaging Ben Stevenson’s production for the seventh time.

A triple bill of ballets by George Balanchine, Jiří Kylián and Trey McIntyre and the very successful Bespoke program take care of contemporary ballet. Bespoke is where QB delivers a full evening of new choreography from experienced dance-makers – next year’s names are Lucy Guerin, Amy Hollingsworth and RNZB’s Loughlin Prior – while emerging choreographers will be seen in Synergy.

Lest We Forget, Queensland Ballet

Queensland Performing Arts Centre, July 29.

The Andrews Sisters style is all honey, sunshine and an irresistible life force, even when there’s a touch of wistfulness in the lyrics. No wonder the trio was so popular with US troops during World War II. The silken close harmonies, bouncy syncopations and light-on-the-feet melodies were made to please. They are optimism in a three-minute package.

Paul Taylor’s Company B uses nine of the sisters’ hits that show that in spades. The genius of Company B, though, is in the shadows the choreographer casts. While Brylcreemed young blades and flirty-skirted women whoop it up with infectious vitality there are men who fall, or are seen silhouetted on the periphery in martial poses. These ones melt in and out of the dance like ghosts while around them couples dance as if there were no tomorrow, full of juice and hope and infectious high spirits. I have no idea whether Taylor, now the grand old man of American modern dance, was thinking about contemporary conflicts when he made Company B in 1991, but its premiere at Houston Ballet came shortly after the first Gulf War.

Expressions Dance Company

Laura Hidalgo in Paul Taylor’s Company B. Photo: David Kelly

A song such as There Will Never Be Another You takes on quite a different complexion in Taylor’s context and when at the end of the bravura Boogie Woogie Bugle Boy (of Company B) the soloist collapses to the floor, we think not only of goofily exaggerated exhaustion. This happens again and again, joy undercut by sorrow, until we are back at the beginning with a reprise of Bei Mir Bist du Schön. War never stops, nor do its consequences.

Company B closes Queensland Ballet’s commemorative Lest We Forget program on a strong note, even though the exhilarating mix of contemporary and social dance is delivered a little too carefully overall. Not everyone fully captures the scintillating swing of hips, jaunty shoulders and the effervescence that comes from within. On opening night principal Laura Hidalgo in Rum and Coca-Cola and soloist Camilo Ramos in Oh Johnny, Oh Johnny, Oh! show how it should be done and two less senior dancers – Vanessa Morelli in There Will Never Be Another You and Lima Kim always – were marvelously alert to the music.

Expressions Dance Company

Queensland Ballet in Natalie Weir’s We Who are Left. Photo: David Kelly

The other two works in the triple bill are new company commissions. Natalie Weir’s We Who are Left is perhaps a piece d’occasion rather than a stayer but her aim is true. The melancholy of young men at war and the women who grieve for them is affectingly expressed. The extensive filleting of Benjamin Britten’s 85-minute War Requiem to find not quite 30 minutes of music gives pause for thought but Weir is sensitive to its purpose. The gestures of love, loss and pain feel authentic and the five couples in the first cast did Weir proud, dancing with eloquent simplicity in David Walters’s gorgeous lighting. Principals Clare Morehen and Shane Weurthner were particularly fine in Weir’s delicate, bodies-not-quite-touching duet She Who Was Left.

Ma Cong’s In the Best Moments, which opens the evening, is dominated by a series of pas de deux that manage to be bland and overwrought all at once, with men lifting women in big, tricky manoeuvres that look effortful. The connection with its music, sections from Philip Glass’s score for the film The Hours, is primarily one of busyness. There are lots of notes, lots of steps.

Lest We Forget ends on August 6.

The year ahead

And coming up in 2014 …

LAST year it was easy to point to the events in dance one thought would be unmissable (not so very many) and theatre (vast amounts). Mostly performances and productions delivered pretty much what one thought they would and moments of transcendence were few, but I guess they always are. Sydney Theatre Company’s Waiting for Godot, Griffin Theatre Company’s The Floating World and Nature Theatre of Oklahoma’s Life and Times (for the Melbourne Festival) are among the shining few, and opera offered tremendous occasions in Opera Australia’s Ring cycle and Pinchgut’s Giasone.

This year is a bit harder to read, particularly in theatre. There’s a handful of sure things – well, likely sure things, if that makes any sense at all – alongside some more intriguing propositions. Note that I’m only talking about Sydney theatre because that’s where I see most in this art form. Otherwise I get around a bit.

The events are in chronological order – which incidentally reveals a few unfortunate clashes for the dedicated dance fan – American Ballet Theatre’s Swan Lake (Brisbane) and The Australian Ballet’s La Bayadere (Melbourne) open August 28; West Australian Ballet’s La fille mal gardee (Perth) and ABT’s Three Masterpieces triple bill opens September 5. Akram Khan’s DESH opens in Brisbane on September 6.

Dance:

Dido & Aeneas, Sasha Waltz & Guests. From January 16, Sydney Festival. Purcell, the Akademie fur Alte Musik, singers, dancers and a huge tank of water.

Patyegarang, Bangarra Dance Theatre. From June 13 in Sydney, then Canberra, Perth, Brisbane, Melbourne. Stephen Page’s new work on the meeting of minds between Lieutenant William Dawes and Patyegarang, a young indigenous woman, in colonial Sydney.

Romeo and Juliet, Queensland Ballet. From June 27, Brisbane. Kenneth MacMillan’s version (the best in my opinion) and guest stars Carlos Acosta, Tamara Rojo, Steven McRae and Daniel Gaudiello.

The Red Shoes, Expressions Dance Company, from July 18, Brisbane. Choreographer Natalie Weir tackles this much-loved, influential – albeit rather creepy – story of obsession in the ballet world. Intriguing.

American Ballet Theatre, from August 28, Brisbane only. First up is Kevin Mackenzie’s Swan Lake, but I’m more interested in the triple bill, which includes Twyla Tharp’s Bach Partita, which was recently revived by ABT after a 28-year hiatus. From September 5.

La Bayadere, The Australian Ballet, from August 28 in Melbourne, then Sydney. Choreographer Stanton Welch promises Bollywood colour and energy and a clearer, speedier version than usual. The beloved Kingdom of the Shades scene will, of course, be as expected.

La Fille mal gardee, West Australian Ballet, from September 5. This sweet and sunny ballet, updated to 1950s rural France, is seen in Perth and then will go to Queensland Ballet in 2015. QB’s Coppelia, choreographed by ballet master Greg Horsman (opening April 24 this year), goes to WAB next year in a sensible sharing of resources.

DESH, Akram Khan, from September 6, Brisbane Festival. I have longed to see this since its premiere and missed it at the Melbourne Festival in 2012. This is one occasion on which I won’t rail against the tendency of arts festivals to program work from a fairly small (admittedly stellar) group of dance artists.

Theatre:

Noises Off, Sydney Theatre Company, from February 17. I first saw Michael Frayn’s brilliant farce about 30 years ago and laughed like a loon. The memories are vivid; let’s hope they can be matched – surpassed even! – by this new production.

Ganesh versus the Third Reich, Back to Back Theatre, Carriageworks, from March 12. At long last Sydney gets to see this hugely admired work.

Hedda Gabler, Belvoir, from June 28. Ash Flanders will star. And yes, he’s a bloke who often performs in female guise. Flagrant nicking of a role a woman should have or a revelation? We shall see.

Macbeth, Sydney Theatre Company, from July 21. STC is giving over the auditorium of the Sydney Theatre to the actors and putting the audience on the stage. Hugo Weaving stars. Sounds promising, no?

Emerald City, Griffin Theatre Company, from October 17. David Williamson never really went away, despite the protestations of retirement, but he’s having quite the resurgence these days (Travelling North gets things moving at STC from January 9).

Opera and musical theatre:

Madama Butterfly, Handa Opera on Sydney Harbour, Opera Australia, from March 21. No explanation required.

Strictly Ballroom the Musical, from March 25, Sydney. No explanation required.

The King and I, Opera Australia and John Frost, Brisbane, from April 15, then Melbourne and Sydney. I saw this lovely production when it premiered in 1991, directed by Christopher Renshaw, designed by Brian Thomson and with frocks by Roger Kirk that got their own applause. There’s no reason to think it won’t be a winner again, particularly with Lisa McCune rather than Hayley Mills as Anna.

Into the Woods, Victorian Opera, Melbourne, from July 19. Stephen Sondheim. Say no more.

The Riders, Victorian Opera, Melbourne, from September 23. New Australian opera from Iain Grandage with libretto by Alison Croggon, based on Tim Winton’s book.

When Time Stops

Expressions Dance Company
Brisbane, September 10

IN Greek mythology the river Styx marks the point of no return. On one side is life, and on the other death; the ferryman Charon is the intermediary, transporting souls to the afterlife. Natalie Weir has taken this enduring story as the wellspring of When Time Stops, a new work for Expressions Dance Company that has just premiered at the Brisbane Festival. The central character is a woman who, In Weir’s words, “could be anyone, in her last moment of life’’. That moment is extended and suspended as experiences are relived, in flashes, by the Woman or replayed by others.

When we first see the Woman (Riannon McLean) she is at the point of joining the Ferryman (Thomas Gundry Greenfield) for her final journey. He is seated in a small white boat, back rippling as his arms press and circle in huge, powerful strokes that have a mesmerising but implacable rhythm. Never, one imagines, has the afterlife looked quite so enticing. McLean, so poised and centred, reaches towards him but is interrupted. The stage fills with musicians and other dancers. A life’s flashback begins.

This is a striking and eloquent beginning, much enhanced by Bill Haycock’s cool, elegant design and David Walters’s sympathetic lighting. And how marvellously and unselfconsciously the members of Camerata of St John’s move in and out of the dance, playing Iain Grandage’s new score from memory and doing it very, very proud. Weir’s direction of this aspect of the production is exceptional.

The dancers give every sinew of their being to the work and are captivating. McLean draws the eye even when still and in the background, such is her charisma; there can never be too many opportunities to see Daryl Brandwood; and Gundry Greenfield, whether entering the dance or continuing his endless ferryman labour, is as imposing a presence on stage as I have seen in quite a while.

When it comes to the choreography itself, however, I have significant reservations. Weir relies too much on several relatively obvious ideas – running backwards, slow-motion moves, rolling, leaping – in a way that does little to differentiate stages in the woman’s journey (there are 12 sections). There are several intimations of tenderness but mostly I felt as if I were seeing 17 kinds of sorrow on a loop.

Most troubling for me is a hardness in much of the partnering that borders on violence. There is one section clearly depicting some kind of accident or harm where the use – abuse? – of male strength is dramatically justified. But there were so many times when young women hurled themselves at the men, when they were slung over shoulders and when they were hurled around. The partnering looked very unequal in power and authority. I was also dismayed when women upended themselves on the floor, their floaty skirts naturally dropping down over their heads and shoulders as they extended their legs. I don’t mean to suggest Weir had the intention of making her female dancers look manipulated and anonymous; far from it. But, to me, apart from McLean they looked just that and I found it hard to watch.

That said, When Time Stops has many individual moments of great beauty. Apart from the opening the most satisfying image is of Gundry Greenfield morphing into a man who, in earlier times, rescued the Woman (danced at this point by Elise May) from drowning. The section is overlong, but has clarity of purpose not always so evident elsewhere.(It’s astonishing to learn that Gundry Greenfield did not start formal dance training until he was 21, although his background does include Australian Rules football, so that sort of counts.)

When Time Stops could do with some focusing and tightening. So many new works fail to get the second look they deserve because of time or money constraints, but I hope Weir does have a chance to reconsider some things about When Time Stops because it’s certainly worth it. Undoubtedly a major problem about restaging would be the participation of the number of musicians Grandage requires for his score, and the dance would be immeasurably diminished by the use of recorded music.

Grandage, whose score for Sydney Theatre Company’s The Secret River was greatly admired, describes his music for When Time Stops as having, among other things, elements of minimalism, surrealism and polytonality. That may sound rather dry. In practice there is a great wealth of colour and texture as the orchestration – for strings alone – moves from the group to individual instruments, from the lower strings to the higher, from quite romantic plushness to thrilling astringency. The music appealed greatly on this one hearing and the Camerata of St John’s and their music director, Brendan Joyce, put in a blinder.

When Time Stops continues at the Playhouse, QPAC, until September 14.