The Australian Ballet announces its 2020 season and seeks a new artistic director

As David McAllister announced his last full season as artistic director of The Australian Ballet, the company formally launched its search for McAllister’s successor.

McAllister retires in December of next year after 20 years at the helm but will have significant input into the 2021 program. The new director is not expected to start until perhaps April, executive director Libby Christie told me yesterday.

Advertising for the position has begun, with applications to close on October 25. The company, which currently has about 80 dancers and  stages more than 240 performances a year, seeks “an inspirational, internationally recognised person with outstanding artistic and leadership qualities”. Among the many qualities required, the candidate must “be able to demonstrate an affinity for Australian culture”.

It’s undoubtedly no coincidence that TAB’s 2020 marketing images were taken in Broken Hill, in the far west of NSW. Despite the fact that the vast majority of Australians live around the edges of the continent, few things evoke Australia more immediately here and abroad than the red dust of the outback.

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TAB principal artist Robyn Hendricks. Photo: Georges Antoni

TAB begins its year in Brisbane with Graeme Murphy’s The Happy Prince, based on the Oscar Wilde story. Murphy has adapted the story with designer Kim Carpenter. Christopher Gordon has composed a new score. The Happy Prince was to have premiered this year but Murphy became ill and was unable to complete the ballet in time. The postponement had its upside: McAllister’s first big commission and arguably greatest success was Murphy’s Swan Lake (2012) and The Happy Prince brings the connection full circle. It will also be staged in Melbourne and Sydney.

The year’s other two full-length works are also new, Yuri Possokhov’s Anna Karenina, a co-production with Joffrey Ballet; and Alexei Ratmansky’s reconstruction of Petipa’s Harlequinade, a co-production with American Ballet Theatre. (Ratmansky has given it “the kiss of life”, says McAllister.) Anna Karenina opens in Sydney then goes to Melbourne and Adelaide. Harlequinade will be seen in Melbourne only next year; presumably Sydney and possibly other cities will see it in 2021.

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Kevin Jackson, Robyn Hendricks and Nathan Brook in a promotional image for Anna Karenina. Photo: Justin Ridler

Two mixed bills will be staged in Melbourne and Sydney. Volt features a new work by resident choreographer Alice Topp and two Wayne McGregor revivals, Chroma and Dyad 1929, the latter created for TAB. McAllister breaks the mould – well, his mould – for Molto by programming a heritage work, Ashton’s A Month in the Country (1976), alongside 21st century ballets by resident choreographers Tim Harbour (Squander and Glory) and Stephen Baynes (Molto Vivace).

If McAllister was feeling melancholy about his final season launch he hid it well. Looking relaxed and happy, he said the dancers would have much to learn from a new artistic director, as he did from Ross Stretton when Stretton succeeded Maina Gielgud. “It’s an exciting and positive time for the company.”

Giselle, The Australian Ballet

Sydney Opera House, May 1

Graeme Murphy fell ill earlier this year and was unable to complete his new ballet, The Happy Prince, in time for its premiere in Melbourne, which was to have been in March. It was then to be performed in Sydney (it is now likely to be seen in 2020). Alexei Ratmansky’s Cinderella (2013) and Maina Gielgud’s Giselle (1986) were rushed into the Melbourne and Sydney schedules respectively – safe choices and understandable ones, given both ballets were staged recently.

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Ako Kondo and Chengwu Guo in Giselle. Photo: Daniel Boud

Ako Kondo’s gentle, thistledown Giselle captivated from the moment she appeared. She seemed scarcely to touch the ground, levitated by her love for Albrecht. When she went mad she seemed even less substantial, sinking to her knees as if weightless. Kondo’s interpretation was delicately drawn and full of fine, illuminating detail – the shy, brief touching of hands with Albrecht, her quiet awe in the presence of Bathilde, the heartbreaking way in which she told Hilarion she didn’t love him, forced into a declaration her sweet soul shrank from making. Principal artist Andrew Killian is a highly experienced Hilarion who on this occasion appeared much more vulnerable than usual, a portrayal that meshed beautifully with Kondo’s approach.

She undoubtedly benefited from Leanne Benjamin’s insights. The former Royal Ballet principal artist was guest coach for this season.

As always, Olga Tamara was superb as Giselle’s mother. She is marvellous in the mime, which is the audience’s bridge from the first act to the second. It was also good to see the Peasant pas de deux pleasingly integrated into the action. It can often seem rather dull, overlong and extraneous but one felt that Jill Ogai and Marcus Morelli – Ogai in particular – were part of this community. With her natural, earthy quality Ogai would be an interesting Giselle.

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Ako Kondo and Chengwu Guo. Photo: Daniel Boud

Chengwu Guo’s Albrecht was danced gleamingly although his acting was less layered in the first act than Kondo’s. The moment when Albrecht recognises the necklace his betrothed, Bathilde, has given Giselle went for little and appeared to be completely forgotten the next second while the upstairs-downstairs relationship with his attendant, Wilfred (Timothy Coleman, excellent), was sketchily rendered. Guo was more convincing in the second act as he tenderly supported Kondo, who was entirely of the air and at one with the melting Romantic style that gives Giselle its enduring appeal.

The women of the company were entrancing as the wilis in Act II and perhaps would have been more dramatically forceful had Nicola Curry as their queen, Myrtha, registered more forcefully herself.

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The Australian Ballet in Giselle. Photo: Daniel Boud

During this season of Giselle The Australian Ballet is also performing in New York at the Joyce Theater’s Australia Festival, presenting a mixed bill from May 9-12 featuring three of TAB’s four resident choreographers. Stephen Baynes’s Unspoken Dialogues and Alice Topp’s Aurum will be joined by a new work from Tim Harbour. With part of the company out of town a handful of more junior dancers will be seen as Hilarion, Myrtha and in the Peasant pas at some performances. It’s worth scanning the casting to see who and when.

Giselle ends on May 18.

Verve, The Australian Ballet

Sydney Opera House, April 5

The Australian Ballet’s contemporary triple bill Verve, having a Sydney season this year after its premiere in Melbourne last year, presents works from the company’s three resident choreographers, each with a distinctive style that serves the program well.

Veteran Stephen Baynes, who has held his post since 1995, is a classicist who puts his women on point and on a pedestal. Tim Harbour, who was appointed in 2014, offers hard-edged abstraction. Alice Topp, named a resident choreographer last year, makes work with emotional and sensual appeal. (Each was, or in the case of Topp still is, a dancer with the company.)

Harbour was nurtured through TAB’s Bodytorque new works program – where has that gone? – and so was Topp, with an eye-catching series of works that marked her out as a real talent. She was rewarded with a mainstage work in 2016, Little Atlas. Her latest, Aurum, is a significant step forward.

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Ako Kondo, Andrew Killian and Cristiano Martino in Constant Variants. Photo: Daniel Boud

Verve opens with Baynes’s elegant Constant Variants from 2007, danced to Tchaikovsky’s Variations on a Rococo Theme. Its world is one in which partners address one another in a courtly fashion and women, who exude an air of containment and mystery, are admired by men as if they are precious jewels.

On opening night Ako Kondo took the role made on Madeleine Eastoe and made something different of it. Jon Buswell’s soft lighting summons thoughts of dim cloisters and Eastoe’s gentle radiance glowed like a candle in the dark whenever she appeared. Kondo has a different kind of appeal – more sophisticated and less knowable.

Harbour’s Filigree and Shadow, first seen in 2015, finishes the night with a frenetic – and, it must be said, formidable – display of athleticism. Eight men and four women stride on and off to a thunderous score by 48nord, looking in spectacular form as they fling themselves across the stage or at one another. On opening night the eye was particularly caught by Dimity Azoury, Jill Ogai, rising talent Shaun Andrews and Brett Chynoweth, who was made a principal artist last year and not before time.

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Marcus Morelli and Brett Chynoweth in Filigree and Shadow. Photo: Daniel Boud

Topp’s Aurum is inspired by the sophisticated Japanese art of kintsugi, by which broken ceramics are made whole again with gold lacquer. The use of gold honours the value of the original piece and at the same time highlights the damage suffered. The cracks show and become part of the piece’s history. Topp sees an analogy with human relationships. There will be breakages and flaws; and while restoration is possible, nothing will be exactly as it was.

Aurum is danced by five couples wearing simple white garments of Topp’s design. The mood is intense and yearning, supported by the rippling, swelling music of Ludovico Einaudi, a Topp favourite, and Jon Buswell’s golden lighting.

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Robyn Hendricks and Kevin Jackson in Aurum. Photo: Daniel Boud

Aurum is at its best in the smaller moments – a man and woman stand in separate pools of light far from one another and raise an arm in farewell, a woman’s head rests on a man’s chest as if she is listening to his heartbeat, the shadows of two men seem to take on a life of their own, a man leans backwards and a woman cradles his head. When the group dances in unison the effect is undeniably rousing but the meaning less clear than the touching duos danced so tenderly on opening night by Kevin Jackson, Robyn Hendricks, Adam Bull and Coco Mathieson. The first three are principals artists while Mathieson is still in the corps. Her fervent commitment was outstanding.

In a big coup for Topp so early in her mainstage choreographic career, Aurum will be seen at New York’s Joyce Theater next month as part of its Australia Festival, alongside Baynes’s Unspoken Dialogues (from 2004) and a new work from Harbour.

Verve ends in Sydney on April 25.

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.

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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.

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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.

Character building: dance isn’t only for the young

The received wisdom is that ballet is strictly a young person’s game. When a classical dancer gets near or just beyond 40 there is much marveling at their longevity and conjecture about what they will do when they retire. There are always exceptions, of course. Think of the wondrous Alessandra Ferri, who on June 23 danced Juliet for American Ballet Theatre at the age of 53 (in the MacMillan version). Leanne Benjamin, long-serving Australian-born principal at the Royal Ballet, retired at 48 still looking spectacular.

And there is another, much larger, cohort of mature dancers whose contribution is great but less remarked upon. They are kings and queens; mothers, fathers and grandparents; attendants at court, kindly godmothers, clog-dancing widows, bad fairies and more. They bring experience, authority, wisdom and texture to the stage – not to mention sparing the audience the unpleasing sight of vigorous 20-somethings giving us their old-person acting. The character dancer is an essential part of any company.

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Colin Peasley ready to take the stage in Graeme Murphy’s Swan Lake. Photo: Lisa Tomasetti

“Once a dancer, always a dancer,” says David McAllister, artistic director of The Australian Ballet, who has in front of him one of the great examples in the business. When the AB opens its London tour on July 13 with Graeme Murphy’s Swan Lake, the role of the Lord Admiral will be taken – as usual – by Colin Peasley. Peasley, a founding member of the AB in 1962, will be 82 before the year is out (he celebrated his 80th birthday in the US while on tour with the AB in 2014). His role is not extensive but you know what they say: there are no small parts, only small actors. McAllister was a principal artist with the AB before becoming artistic director and says: “I remember as a young performer learning so much from watching people like Colin.” Young performers also need to watch out: an expertly judged cameo can shine far more brightly than a larger routine performance.

Li Cunxin, artistic director of Queensland Ballet (and also a former AB principal) says story ballets need experienced older artists to add depth and weight to the production. “No matter how brilliant young dancers are, they haven’t lived the ups and downs, the heart-breaking moments. The way you walk, the way you look at a person, the subtlety, is very hard to teach. “Furthermore, to have those marvelous dancers is such a great inspiration for the younger members of the company. Dancers are such visual learners so to have someone like that in front of you – it makes a huge difference.” McAllister agrees. It is invaluable for “all the company to witness that theatrical craft at such close range”.

Li invited Steven Heathcote to dance Lord Capulet when QB staged the MacMillan Romeo and Juliet in 2014. Heathcote was the AB’s alpha male principal artist for many years and is now a ballet master and regional touring associate for the national company. He also performs character roles for the AB and was most recently seen on stage in Stephen Baynes’s Swan Lake, bringing his considerable charisma to the role of the Lord Chancellor.

Rachael Walsh unforgettably made Lady Capulet in the QB Romeo and Juliet her final role before retiring as a principal dancer and taking the position of corporate partnerships manager at the company. Heathcote and Walsh are “fabulous artists, truly rare”, says Li. Walsh is now listed as one of QB’s character artists, alongside veteran Paul Boyd, members of the ballet staff and others.

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Paul Boyd as Catalabutte in Greg Horsman’s The Sleeping Beauty for Queensland Ballet

Other former AB principal artists seguing into character roles include Lisa Bolte (now working in philanthropy for the AB), who recently appeared as the Queen in the Baynes Swan Lake, and Lynette Wills. Wills created the role of the Godmother in Alexei Ratmansky’s Cinderella in 2013 and Carabosse in McAllister’s The Sleeping Beauty last year, these performances an adjunct to her frequent credits as a ballet photographer. In Sydney former Royal Ballet first soloist Gillian Revie was a memorable Carabosse in the McAllister production.

Bolte and Wills may be somewhat older than most of the dancers on stage but they are positively teenaged by comparison with some. “I think of Sir Robert Helpmann in Checkmate, Dame Margaret Scott in Nutcracker: The Story of Clara and pretty much every role that Colin Peasley does,” says McAllister. The Red King in Checkmate was Helpmann’s final role. He died in 1986 at the age of 77 only two months after he was last on stage. Scott was in her late 70s when she last danced in the Murphy Nutcracker – and dance she did, including a highly physical encounter with giant rats in a dream sequence.

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Lisa Bolte as the Queen in Stephen Baynes’s Swan Lake for The Australian Ballet

Peasley had more than 6000 performances under his belt when he formally retired in 2012 but in his farewell interviews flagged that he wouldn’t be averse to accepting further invitations to appear. I asked him then about the legendary Freddie Franklin, who died at 98 in 2013 and who had appeared as the Tutor in Swan Lake for American Ballet Theatre when he was 94. Peasley seemed inclined to want to match or better that. You’d be mad to bet against it.

Robyn Hendricks promoted to principal artist at The Australian Ballet

In what has become a tradition at The Australian Ballet, Robyn Hendricks was promoted on stage on Friday in Melbourne to the highest rank of principal artist. She was elevated by artistic director David McAllister after dancing Odette-Odile in Stephen Baynes’s production of Swan Lake. Hendricks joined the AB in 2005, became a soloist in 2011 and was named a senior artist only last year. She is South African-born and trained at The Australian Ballet School in Melbourne.

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Robyn Hendricks after her promotion to principal artist. Photo: Lynette Wills

Hendricks brings the number of principal artists to 10, five men and five women. The AB currently lists 77 company members. Its goal is to have a complement of 85.

Hendricks danced Gamzatti in Stanton Welch’s La Bayadère in 2014 and Aurora in McAllister’s The Sleeping Beauty last year, the role that won her promotion to senior artist late last year. At the time I wrote that Hendricks’s Aurora “was a slightly mysterious young woman in whom you could see the queen she is destined to be. The watchfulness and engagement with her suitors created a whole, interesting, individual character and the elegance and quiet sophistication of her dancing spoke of great things ahead”.

Another key moment last year was her glowing performance in the company premiere of Ashton’s Symphonic Variations and this year in the Vitesse program Hendricks was superb in the slow movement of Christopher Wheeldon’s DGV: Danse à Grande Vitesse. In Symphony in C, which paired the one-act Balanchine ballet with a group of divertissements, she was transcendent in the pas de deux from Wheeldon’s After the Rain, which she danced with Damien Smith, the Australian-born former principal artist with San Francisco Ballet who was making a nostalgic trip back home.

As I wrote then, “AB senior artist – and surely very soon a principal – Robyn Hendricks and Australian-born guest Damian Smith quietly distilled the complexities of love. Smith, who retired from San Francisco Ballet in 2014 after a long and shining career, brought the gravitas and weight of a long, deep association with the role and Hendricks was outstandingly luxurious, mysterious and unknowable.”

Swan Lake: Sydney summing up

The Australian Ballet, Sydney, March 31, April 2, April 5, April 16.

The Australian Ballet will undoubtedly stick with Stephen Baynes’s 2012 production of Swan Lake – now being revived for the first time – for many a year to come. It has sold out 21 performances at the Sydney Opera House and a check of the Arts Centre Melbourne website shows exceptionally strong demand for the 14 performances the AB has scheduled in June at the State Theatre (it is significantly bigger than Sydney’s Joan Sutherland Theatre). Before Melbourne there is Adelaide, where there are six performances in late May. It looks as if that’s where it will be easiest to nab a seat if you so desire.

Audiences, then, are happy with this traditional alternative to the perennially popular Graeme Murphy 2002 version, which will be revived for the umpteenth time in July for performances in London.

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The Australian Ballet in Stephen Baynes’s Swan Lake.

The ballet is, nevertheless, frustrating, although not without its virtues. Chief among them is a fourth act that transforms the predominantly straight-line, front-to-back patterns for the second act swans – Baynes reproduces the traditional Act II choreography – into a flurry of circles and angles as Odette’s sisters in captivity try to protect her after Siegfried’s betrayal. On first acquaintance, in 2012 that is, I thought they looked too busy. In these performances (I saw three and a dress rehearsal) the intent and emotion were abundantly clear.

This forceful display of solidarity in the face of tragedy stays with one powerfully, although it is soon undercut by a weak ending. Obscured by the mass of swans, Odette dashes offstage and is seen no more. Siegfried then also runs into the wings – to where? There is no visceral connection between his departure and the sight in the final moments of his body being hauled out of the lake at the back of the stage by the sorcerer Rothbart. You come to understand that Siegfried has drowned himself in guilt and remorse but are denied the drama of it. We also must assume the hazy projection of something flying palely up on high is Odette, although you need recourse to the program notes to tell you that although she is still a swan, Rothbart no longer has power over her. Puzzlingly, the synopsis refers to the projection as the released “soul of Odette”, which makes sense given the formless nature of the image but also makes it sound as if she is dead.

There are other aspects of the storytelling that aren’t sufficiently developed to give the kind of texture Baynes clearly wanted. The late 19th century setting (Hugh Colman designed sets and costumes) is Romantic in spirit, with the Prince a deeply melancholy man who shrinks from the burden of power. There is a suggestion at the beginning of the ballet that Baron von Rothbart has sway not only over the women-swans he has captured but also over the life of the royal family, a situation somewhat undercut by his giggle-inducing pretend violin-playing turn at the Act III ball. (I could be wrong, but Rothbart’s red wig seems to have been toned down significantly to advantage.)

And questions arise from the frame Baynes has devised. Did Siegfried’s father have his own lake encounter? What will Rothbart do now the last male in the royal family has done himself in? Are these questions too literal? All I know is that if I start thinking about why an idea is planted I am not fully engaged in the storytelling. Too often it seems Baynes is saying “just trust me, this is meaningful; if you read the program you’ll understand” rather than developing the idea fully onstage.

I wasn’t able to see Amber Scott on opening night in Sydney but at the dress rehearsal she showed the qualities that were so praised by her first-night admirers: exquisitely delicate and vulnerable as Odette; a strong, glamorous Odile. Her Siegfried, Adam Bull, and she looked more connected with the drama – less ghostly – than when I saw them in 2012.

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Amber Scott and Adam Bull in Swan Lake. Photo: Kate Longley

Each of the other three Odette-Odiles I saw during this season brought interestingly different qualities to their roles. I reviewed principal artist Ako Kondo’s debut performance at the matinee on April 2 here. I saw principal Lana Jones on April 5 with Ty King-Wall as her attentive but over-shadowed Siegfried, and I had been expecting to see senior artist Natasha Kusch at the April 16 matinee but she was indisposed. Long-serving senior artist Miwako Kubota took her place, partnered by Andrew Killian as she had been in earlier performances. Killian was also Kusch’s partner, having stepped in to replace Daniel Gaudiello after his surprise departure at the end of Melbourne’s Vitesse season.

Jones was very much the swan queen, a magnificently regal figure who dominated her realm despite being a captive. She may have been at this lake, in this form, for aeons. When Prince Siegfried and she came face to face Jones’s reaction suggested a challenge – who are you to come into my world? – before she realised he may be her salvation. At times she moved breathtakingly slowly without losing touch with the music in a sleight of hand that suggested water as her natural element (the ravishingly fast quivers of her foot as it beats against her ankle at the end of the Act II pas de deux brought to mind not only a bird’s fluttering but swift-flowing currents beneath the lake’s surface). As Odile, Jones was mesmerising, the sorcerer if you will, making light work of entrancing Siegfried.

Kubota’s passionate, desperate Act IV was thrilling and she was a fascinating Odile, some trouble with the fouetté turns notwithstanding. Far from being the cold, glittering creature in many readings, Kubota was abundantly sensual and inviting. At this performance Simon Thew’s conducting of the Australian Opera and Ballet Orchestra felt too slow for Kubota in her Act II solo; there was an audible winding down that wasn’t helpful musically or for Kubota’s performance. (Andrew Mogrelia conducted the other three performances I saw with tempi that were responsive to the dancers without distorting the score.)

In secondary roles soloists Benedicte Bemet and Dimity Azoury and coryphée Jill Ogai did their best with the bitchy Duchess, a woman whose motives aren’t always clear. Perhaps she’s trying out for the role of Royal Mistress because the action makes it obvious she’s not in contention as bride. The three are very much on the must-watch list. Senior artist Robyn Hendricks and coryphée Valerie Tereshchenko were enticing Russian Princesses and the Cygnets, who I saw in various combinations, were all splendidly in tune with one another. All hail to coryphée Karen Nanasca, the common denominator in all four Cygnet casts and, I’ve read, a force to be reckoned with when it comes to revving Cygnets up to give their best.

Finally, a word about Brett Chynoweth. On hearing Gaudiello had retired before his advertised Swan Lake performances I thought Chynoweth might be asked to partner Kusch. They danced together in the new Sleeping Beauty late last year and it was after that performance as Prince Désiré that Chynoweth was rightly promoted to senior artist (very oddly the AB’s highly detailed new website doesn’t list that as a repertoire highlight for him – it was). I wrote then: “In Beauty he radiated passion from every pore and his Act II solo, marked by pillowy elevation and immaculate airborne turns, was a glorious expression of longing.” I felt the same about his Prince in the Peter Wright Nutcracker in 2014. Chynoweth gives his heart to roles such as this and infuses his faster, higher, sharper technique with rare eloquence. In a pretty thankless role such as Benno in the Baynes Swan Lake, Chynoweth compensated by being over-emphatic. He doesn’t need to try that hard. As his brilliantly danced Puck in the Ashton The Dream showed earlier last year, Chynoweth is such a bright presence on stage and a dazzling dancer. As Beauty and Nutcracker proved, he can also be a prince.