Bespoke, Queensland Ballet

Brisbane Powerhouse, February 10.

Bespoke is a new-choreography program that shows Queensland Ballet moving up yet another gear and broadening its horizons. So far in Li Cunxin’s artistic directorship new contemporary work on the schedule has either fallen into the annual triple bill, of which there is always only one (although none in 2015), or else was part of Dance Dialogues, a small-scale, low-key studio event that encourages an insider atmosphere by being available only to subscribers and including a coaching session of upcoming repertoire.

The mainstage triple bill is generally stacked with extremely well-established names and may or may not include a work created specially for it. It would be unfair to say the programming is tame but it’s not going to frighten the horses too much. At the other end of the scale, Dance Dialogues is likely to include at least one QB dancer who is giving choreography a shot, possibly for the first time, and has to ransack the costume department to clothe the cast. The gulf is wide.

Bespoke fills that gap. It has the specific intention of bringing new voices into the mix and, by being staged at the Brisbane Powerhouse, signals that QB seeks to widen its appeal. (Sydney Dance Company does the same thing by presenting its highly successful New Breed program at Carriageworks, away from the formality of its usual home at the Roslyn Packer Theatre Walsh Bay.) The best news is that Bespoke is intended to be an annual event. Dance Dialogues seems likely to continue but just once a year. There have mostly been two annual sessions; in 2017 there are performances in June only.

Jack Lister's Rational/Animal. Photo: David Kelly

Jack Lister’s Rational/Animal. Photo: David Kelly

While Dance Dialogues is, frankly, a bit naff, it does hold out the possibility of uncovering talent in the ranks. That happened last year when Jack Lister, a company dancer, made a piece called Fonder Heart to the music of Philip Glass. This year he was one of the Bespoke choreographers and absolutely earned his place on the bigger stage with Rational/Animal.

John Adams’s Fearful Symmetries (1988) is catnip to choreographers. Adams says, as its title suggests, the music is “almost maddeningly symmetrical. Four- and eight-bar phrases line up end to end, each articulated by blazingly obvious harmonic changes and an insistent chugging pulse.” He calls it his “travelling music”. New York City Ballet’s Peter Martins, The Royal Ballet’s Liam Scarlett (also, from this year, artistic associate at QB), Scottish Ballet’s Ashley Page (for the RB) and Dutch choreographer Nils Christe are among those who have fallen under the music’s propulsive spell and Lister is the latest, and possibly the youngest, person to tackle this often-used score. The 22-year-old has pulled off a beauty. Rational/Animal is a remarkably confident work from one so young and relatively inexperienced.

In the first nightmarish half, humankind is seen as faceless, frenetic and mechanistic. Lister responds to what Adams calls the “distinctly urban” feel of the music with lines of dancers striding purposefully across the space. Their clothes are the colour of dust and their faces are veiled. Sometimes their figures are echoed, many times life size, in projections on the back wall that emphasise their separateness. There are brief, muscular encounters between dancers and an occasional intimation of tenderness but the atmosphere of control is intense.

It’s fascinating to see how much full-bodied juice Lister injects into essentially robotic movement. It gives this first section unexpected poignancy, as we sense that desires and frustrations have been tightly reined in. Later the dancers strip right down for more intimate, emotionally free and erotically charged interactions.

Lister seems to have an innate grasp of balance and structure, mixing things up at precisely the right time, and it’s wonderful to see the many elements of surprise he brings to his movement vocabulary. At this stage it’s easy to discern the influences on his work but he has excellent taste and, best of all, creates resonant atmospheres.

Stephanie Lake's Chameleon. Photo: David Kelly

Stephanie Lake’s Chameleon. Photo: David Kelly

The decision to invite contemporary dancemaker Stephanie Lake and her frequent musical collaborator Robin Fox to work with QB looked terrific on paper and was even more terrific in reality. Chameleon is Lake’s first ballet commission and for many of the dancers their first exposure to colouring outside the strict lines of classical dance. The result was an exhilarating mash-up of styles wrapped around a big heart.

Lake was clearly enchanted by the formal beauty of classical shapes and the dancers’ technical gifts while casting an outsider’s coolly appraising eye over ballet’s conformist tendencies. Chameleon made much of the pull of the group versus the needs of the individual in ways that were witty, odd, mysterious and touching.

All power to Li for letting Lake use 24 dancers in Chameleon. So frequently ballet companies tacitly make it clear that new-choreography evenings are extra-curricular; a distraction from core programming. You can see limits imposed. The numbers mattered here, particularly in a potent section in which dancers closely followed one another, wheeling, separating and re-combining in groups large and small.

Lake started Chameleon with 11 dancers standing in a line in front of a red curtain, later lifted. They were a motley and rather anxious-looking lot as they twitched and jerked their way through basic classical positions. When they found their individual voices – along with a larger cohort of ragtag companions – they didn’t seem to quite know what to do with their new-found freedom, but what the heck. They had a lively go at letting go before being sucked back into line.

There were too many standout performers to mention them all but principal artist Laura Hidalgo was extraordinary in her deep understanding of both sides of the dance divide. The final image of Chameleon was deeply moving.

The evening opened with Glass Heart, by QB ballet mistress and artistic associate Amy Hollingsworth for the company’s 10 Jette Parker Young Artists (a number soon to grow to 12; impressive). In a further sign of the ambitions for Bespoke the score was composed by celestial-voiced singer-songwriter Katie Noonan and the young Brisbane music producer known as cln, both of whom performed it live.

With the choreography tending to generalised angst Glass Heart was busy but emotionally vacant, at least from a movement perspective. No matter what anyone did, whether in solos, duos or groups, the effect was the same. That left feeling to be generated by the fine musicians, who filled the gap admirably. And if Glass Heart was unremarkable as a dance work, it was undoubtedly a valuable experience for this lovely group of Young Artists.

Hollingsworth’s greater achievement was as Bespoke’s prime mover. After finishing a celebrated performing career in both classical and contemporary dance she turned to coaching, direction, staging, education, mentoring and assisting choreographers in the creative process. These are no small talents and were previously evident at Sydney Dance Company and Expressions Dance Company. As curator of Bespoke Hollingsworth brought Lake in and, I am told, helped teach Chameleon to the dancers. She also helped guide Lister through the process of creating his ambitious piece.

QB’s lighting and technical manager Cameron Georg lit the whole program with dramatic flair and wardrobe production manager and resident designer Noelene Hill did a superb job of interpreting costumes conceived by each choreographer. It’s such a pity there were only five performances. Perhaps there will be more next year.

Footnote: Obviously you’d have to love Fearful Symmetries a lot, but wouldn’t it be fun if QB did a triple bill of ballets to this music? And it could do so with three works connected with the company. In 2010 QB performed the enormously entertaining Nils Christe version (made for Germany’s Ballet Mainz); new QB artistic associate Scarlett made his version only last year for San Francisco Ballet; and now there’s Lister’s take. Too much? Perhaps.

Elegance, Queensland Ballet

Queensland Performing Arts Centre, August 2

EMMA Lippa is one of Australian ballet’s hidden treasures. She developed her formidable skills as an accompanist at the Bolshoi Ballet then used her gifts for two decades at the Australian Ballet. Lippa has retired from the AB but not from the piano or from ballet, as Queensland Ballet audiences were privileged to see at some performances of Elegance (her role was shared with QB company pianist Kylie Foster, who unfortunately I wasn’t able to hear).

Lippa’s musicality underpinned the most successful of the four pieces making up QB’s Elegance program, Ben Stevenson’s Three Preludes, choreographed in 1969 to the music of Rachmaninoff. Two dancers are first seen on either side of a ballet barre, at times reflecting each other’s movements as if they are taking daily class. This isn’t a new idea for dance but Stevenson’s take on it is beguiling. He sensitively creates an atmosphere in which boundaries dissolve. Two private, individual worlds melt into one as, slowly, an intimate relationship develops.

Carolyn Judson and Huang Junshuang in Three Preludes. Photo: David Kelly

Carolyn Judson and Huang Junshuang in Three Preludes. Photo: David Kelly

This restrained, glowing ballet is about love, but also can’t help but be about a love for ballet and music. In a short Russian documentary about her career, Lippa says a ballet accompanist “has to breathe with the ballet”, and this she did in eloquent, memorable readings of the Rachmaninoff.

American guest artist Carolyn Judson was alert and responsive while maintaining the work’s introspective quality, although she tended to smile rather too brightly. At times it was hard to concentrate on her, however, given the incredibly potent stage presence of QB’s international guest principal Huang Junshuang. He is tall, powerful, glamorous and a splendid partner. The man’s choreography is supportive – Junshuang leaves the floor only once for a low jete – as he tenderly looks after the woman, who is free to fly with the knowledge she will be completely safe.

Elegance opened with Ma Cong’s Ershter Vals (First Waltz), an attractive, folk-inflected piece for four couples that reminded me strongly of Nacho Duato’s Jardi Tancat. Ma Cong was born in China and danced with National Ballet of China and Tulsa Ballet before retiring recently to concentrate on choreography. He is now resident choreographer for the Tulsa company, but Ershter Vals, his most widely seen work, was made for Richmond Ballet in 2010.

Ershter Vals is danced to a selection of compositions by Italian group Klezroym, whose approach has been described as “new Jewish music”. In his dance piece Ma intends references to Jewish dispossession – the silent opening gives an atmosphere of unease and at times the women cover their faces as if they cannot bear to see – but Ma is more concerned with joy and resilience, seen in the constant and vibrant stream of action and interaction between individuals and groups.

Queensland Ballet in Ma Cong's Ershter Vals. Photo: David Kelly

Queensland Ballet in Ma Cong’s Ershter Vals. Photo: David Kelly

The women (Sophie Zoricic, Eleanor Freeman, Mia Thompson and Teri Crilly on Friday night) looked lovely in the flow and sweep of the movement, in which highly expressive, swirling backs were important. The men (Nathan Scicluna, Joseph Stewart, Vito Bernasconi and Rian Thompson) seemed less comfortable with releasing their emotions and the repression of abandon detracted from the work’s undertow of loss. They were mostly too careful, although the spirit of the piece started working its spell towards the end, with Bernasconi particularly catching the eye.

Former QB dancer Gareth Belling’s Sweet Beginnings, to Vivaldi’s over-used Summer from The Four Seasons, was a disappointingly bland outing for three couples. The piece means to chart the life of a relationship in retrospect (a difficult idea to convey even for the most experienced of choreographers) but had little emotional heft. Belling uses classical vocabulary confidently enough but structurally Sweet Beginnings felt less assured, with the connection between the main couple and the two secondary couples failing to express as much as Belling does in his program note. Noelene Hill designed extremely pretty, long floaty skirts for the women but put the men into particularly ugly loose pants and tops that looked all the world like builders’ singlets. Principal artist Matthew Lawrence was definitely not seen to advantage.

Lina Kim and Matthew Lawrence in Sweet Beginnings. Photo: David Kelly

Lina Kim and Matthew Lawrence in Sweet Beginnings. Photo: David Kelly

It was good to have Vivaldi played live by the quartet Collusion, although intonation was an issue at several points.

On Friday Lina Kim’s vivid commitment was the main attraction of Sweet Beginnings and she also stood out in the upbeat closing work, Greg Horsman’s Verdi Variations. This tutu-fest is an often uneasy mix of humour and high classicism as former Australian Ballet and English National Ballet principal dancer Horsman simultaneously celebrates and sends up the art of which he was such a celebrated exponent. I certainly laughed, but didn’t like myself for it. The “isn’t ballet a funny old thing” approach diminishes the art to my mind. It’s not that there can’t be comedy in ballet, but when ballet itself is the butt of the joke it seems a bit self-defeating. The audience seemed to have lots of fun, despite their being rather too much untidy execution.

Among the pratfalls on Friday one could enjoy Yu Hui’s exuberant elevation and neat entrechats and guest artist Jenna Roberts’s calm assurance, gained from her Royal Ballet School training.

Matthew Lawrence and Jenna Roberts in Verdi Variations. Photo: David Kelly

Matthew Lawrence and Jenna Roberts in Verdi Variations. Photo: David Kelly

A native of Newcastle, NSW, Roberts is a principal dancer with Birmingham Royal Ballet who was making her professional debut in Australia on Friday. Verdi Variations, while a trifle, gave opportunities to enjoy her beautiful placement, unshowy but complete command of the stage and a most becoming understated radiance. Lawrence, who is Roberts’s former BRB colleague, partnered her with his usual grace, as he did with Lim in Sweet Beginnings, and his solo work was clean and assertive.

The season was brief – only five performances – but that was one more than had been intended, continuing QB’s happy situation of having to increase the number of performances of each of its programs this year.

The heavy workload for this relatively small company is, however, taking its toll. QB did not field any of its three principal women in Elegance nor was Hao Bin back on stage after an injury took him out of Giselle. The newly named soloist Lisa Edwards was also nowhere to be seen as she was also on the injury list.

Such situations, of course, give opportunities to more junior dancers (and to guest artists). QB has a large number of relatively inexperienced young men and women for whom stage time and exposure is necessary for their development. It was lovely to see Lina Kim shine. Overall, however, in Elegance only Three Preludes was a truly satisfying experience. Mature artistry will always trump eagerness.

This is an extended version of a review that appeared in The Australian on August 5.