Tag Archives: Stephen Baynes

The Australian Ballet and Queensland Ballet reveal 2019 programs

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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

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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

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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

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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.

Ako Kondo’s Odette/Odile debut in The Australian Ballet’s Swan Lake

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Sydney Opera House, April 2.

The chance to see a dancer’s first Odette/Odile will always be a drawcard for the truly dedicated ballet-goer, no matter how many times they have seen Swan Lake. Early this month Australian Ballet principal artist Ako Kondo added the role to her repertoire with a performance that revealed many individual touches while having room to deepen.

Stephen Baynes’s production, which premiered in 2012 and is getting its first revival, has mostly new choreography around the set pieces audiences expect and is traditional in character. The setting is late 19th-century (Hugh Colman designed) although with a distinct tinge of the earlier romantic era when artists took inspiration from the natural and supernatural worlds.

Baynes tops and tails the story with brief action – set well backstage and seen only dimly in Rachel Burke’s lighting design – that suggests the magician Baron von Rothbart has enduring power over Prince Siegfried’s family as well as the women he has transformed into swans. This line however, like other aspects of the storytelling, is sketchily drawn.

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Chengwu Guo and Ako Kondo in Swan Lake. Photo: Daniel Boud

After a series of competent but routine dances, the ballet really gets going at the end of Act I when Siegfried, whose melancholy is profound, is called inexorably to the lake. In this telling he’s not a hunter out for sport with a few friends. He is unarmed, alone and tormented. Chengwu Guo imbued his introspective solo with weighty sorrow. When Odette appeared he was as startled as she.

Baynes eliminates the mime in which Odette describes her enslavement. We’re left with what it has done to her body (and with the traditional choreography). Kondo acutely showed Odette as one trapped, frightened and in pain. The emotional connection with Siegfried was less clearly expressed although she had a wonderful moment during her Act II solo in which her arms, unfurling slowly behind her, said everything about her aching need to be free. Guo partnered lovingly – as well he should; he and Kondo are off-stage partners too – and there was a tremendously exciting moment when he dashed on right at the last minute to lift Kondo on high in the middle of the massed swans just before the final moments of Act II. Who knows? Guo could possibly have misjudged his entry by a few seconds but whatever the reason, it looked dramatically right.

Kondo’s Odile was fascinating in that she looked more Odette-like than many interpreters as she seduced Siegfried. There was no lack of confidence but less obvious irony; it made Siegfried appear less gullible than usual and Guo’s silken command of every virtuosic step added lustre. Kondo ripped through Odile’s climax to the pas de deux, aided by guest conductor Andrew Mogrelia’s highly supportive tempi. He led the Australian Opera and Ballet Orchestra in a strong, dynamic accompaniment that was sensitive to dancers’ individual needs. (There were, however, a couple of noticeable bloopers from the pit.)

When I first saw this Swan Lake I described Act IV as sometimes over-busy. This time it had more impact, possibly because I had a slightly higher perspective on the complex patterns. The corps of swans builds an ever-shifting wall around grieving Odette, advancing and retreating en masse protectively and emphatically, and allowing Siegfried and Odette a private moment or two for a pas deux before returning to claim her. The contrast between their formal behaviour in Act II and the wilder flurries in Act IV is effective.

There’s more to come though. To give pride of place to his notion of Rothbart as scourge of the royal family, Baynes diminishes the depth of Siegfried and Odette’s love. They dash off separately and the final image – a boat, Rothbart, a dead royal – mirrors the opening. The tears stay unshed.

The Sydney season of Swan Lake ends on April 20. Adelaide, May 26-31; Melbourne, June 7-18.

A version of this review appeared in The Australian on April 5.

About last week … March 26-April 1

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A CLASH of ballet opening nights saw Queensland Ballet’s A Midsummer Night’s Dream and The Australian Ballet’s Swan Lake go head to head – well, from my perspective. They were in different cities at the time. For reasons both artistic and logistical, I went to the first performance of Dream in Brisbane on April 1 and the second Swan Lake performance at the April 2 matinee. I reviewed both for The Australian and both will be up separately on the blog in the next few days.

The artistic reason for putting Dream first? It was the premiere in Australia of a Liam Scarlett work – a notable event in the ballet business – whereas Swan Lake, a traditional version choreographed by Stephen Baynes, is a revival. (I’ll have more to say about Swan Lake later after I get a few more performances under my belt.)

Queensland Ballets Midsummer Nights Dream - Laura Hidalgo and Victor Estevez. Photo David Kelly HR

Victor Estevez, Laura Hidalgo and members of Queensland Ballet in Liam Scarlett’s new A Midsummer Night’s Dream. Photo: David Kelly

The Scarlett is a co-production between QB and Royal New Zealand Ballet, which premiered the work last year. I saw it in Auckland and loved its sensuousness. (Tracy Grant Lord’s designs are a wonderful part of the equation.) Scarlett came through the Royal Ballet School and danced with the Royal Ballet until his choreographic career really started taking off (he was identified and encouraged while still at the school). The post of artist in residence was created at the Royal for him although it doesn’t tie him exclusively to the company. (If you’re interested I wrote about him at length here.)

He’s acutely aware of his dance heritage, and that of course includes a thorough knowledge of Frederick Ashton, founder choreographer of the Royal. I’ve seen earlier Scarlett works – the narrative Sweet Violets with the RB in London and the abstract Acheron performed by New York City Ballet – and wasn’t entirely bowled over by either. With Dream, however, you can see the Ashtonian influence and also that Scarlett isn’t merely copying but has his own voice. The intricate, detailed upper-body work and sharp, fast footwork is incredibly complicated yet looks unrushed, harmonious and gorgeously musical. In Dream Scarlett keeps most of the dancing quite close to the ground, which allows the dancers the trick of appearing feather-light but also more natural and characterful.

QB is a company of about the same size as RNZB and has plenty of zesty dancers, some of whom are quite new. QB artistic director Li Cunxin has hired three dancers from National Ballet of Cuba – principals Yanela Piñera and Victor Estévez and soloist Camilo Ramos – and principal Laura Hidalgo, an Argentinian-born dancer who was lately with National Ballet of Flanders. All danced at the Dream opening performance. (At only 22 Estévez is young to be a principal artist but he has handsome stage presence.)

Interestingly, after the performance I was asked not once or twice but three times who I thought had danced Dream better: QB or RNZB. It’s a tough one. Both companies clearly relished the style, humour and emotion and transmitted it joyously. But QB had only a few days with Scarlett, who made it on the RNZB dancers over some weeks. And, I will note, I saw the RNZB performance a few shows in, after the short Wellington season had been completed. The connection was deep. An example is Tonia Looker’s rapturous Titania in the big Act II pas de deux – I can still see the luscious abandon of her curved back. Hidalgo is a poetic dancer who I am keen to see in more key roles but she wasn’t quite as inside the role as Looker.

I’m talking cigarette papers here, as in minute differences, but that’s how it goes in ballet. I wonder too if there’s something about the feel of a ranked company (QB) versus an unranked (RNZB). We’re talking something quite elusive here and possibly there’s not a lot in it. But the idea did pop into my head. I might come back to this later.

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Tevye (Anthony Warlow) and daughters in Fiddler on the Roof. Photo: Jeff Busby

Earlier in the week (March 29) Fiddler on the Roof arrived in Sydney after its Melbourne opening season. Director Roger Hodgman plays a very straight bat with it but it’s a production that works where it matters. Which starts, not surprisingly, with Tevye, the impoverished milkman living in early 20th century Russia with three daughters who are starting to think for themselves. Anthony Warlow inhabits this funny, dogmatic, sometimes infuriating man with salt-of-the-earth ease. Whether Tevye is having one of his many man-to-man chats with God or roaring at his daughters, there’s a great, enveloping feeling of warmth. This is a Tevye you can admire even when you don’t agree with him and love for his steadfast commitment to beliefs and family. Warlow’s burnished baritone is still a glorious instrument (now in his mid-50s, Warlow is in the sweet spot for the role in terms of age) and it adds incomparable lustre to songs we know so well but rarely experience sung with such glow. To hear If I Were a Rich Man as if new is a true gift. And is there a musical that begins with a more thrilling, information-rich number than Tradition? (Well, some friends immediately cited The Lion King’s admittedly roof-raising opening, but I think they’re talking about staging.)

Warlow has a mostly strong cast around him: Tegan Wouters, Monica Swayne and Jessica Vickers as the loving, clever daughers; Mark Mitchell as rejected suitor Lazar Wolf; and Blake Bowden as the passionate student Perchik are all spot-on. Pop singer Lior, making his music-theatre debut as Motel, had a rocky start to Miracle of Miracles on opening night but rallied nicely to give a nuanced performance. Much has been said about Sigrid Thornton’s too-fragile voice for Tevye’s wife, Golde, and there is indeed a huge mismatch between her and Warlow; and Nicki Wendt’s turn as matchmaker Yente felt too hungry for laughs.

Dana Jolly’s reproduction of Jerome Robbins’s choreography is most welcome and musical director Kellie Dickerson is in charge of a small but very effective orchestra. I found Richard Roberts’s design somewhat uninspiring but the musical’s themes are undimmed and they resonate strongly under Hodgman’s expert direction. When, in 1964, Joseph Stein (book), Sheldon Harnick (lyrics) and Jerry Bock (music) looked back to the early 20th century for a story about family disintegration, religious persecution and widespread displacement, they could well have been looking forward to today. Fiddler on the Roof is at the Capitol in Sydney until early May.

A quick word about the Le Corbusier tapestry Les Dés Sont Jetés (The Dice Are Cast) unveiled Tapestryat the Sydney Opera House on March 29 in the Western Foyers. It was commissioned by Jörn Utzon in 1958 when the Danish architect was already thinking about what might be possible in the interior of his magical building (he wanted vibrant colours inside), and delivered to him two years later. Then came his dismissal and the tapestry from the great Swiss-French architect took up residence in the Utzon home. A group of benefactors and SOH staff members helped fund its acquisition at auction last year, it has been restored, and now hangs in the Opera House as a tribute to Utzon – not to mention its value as a work from the imagination of one of the key architects of the 20th century. If you’re in Sydney don’t fail to pop down to the Western Foyers to take a look.

David McAllister in conversation

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THE Australian Ballet has designated 2015 its Year of Beauty, driving the point home with sumptuous imagery. Not since 2009 has the AB’s promotional material had such a romantic feel.

The program, announced on September 16, culminates in a new production of Sleeping Beauty, to be staged by AB artistic director David McAllister, and begins with a Sydney-only revival of Graeme Murphy’s Swan Lake. In between are Maina Gielgud’s much-admired production of Giselle, a program of Frederick Ashton works and a Melbourne-only revival of Alexei Ratmansky’s Cinderella. There is just one contemporary program, 20:21, and a stripped-back version of the new choreography showcase Bodytorque.

In a particularly busy year the AB will appear in Melbourne, Sydney, Adelaide (twice), Perth, Canberra and Brisbane (although the latter gets only a single outdoor concert) and also visits Beijing and Shanghai.

Last week David McAllister spoke in detail about his choices and his plan to increase the size of the company from 72 to 85 dancers.

DJ: The 2015 season could be described as highly traditional. Are audiences becoming more conventional in their tastes?

DMcA: This year the contemporary program actually outsold everything. Everyone loved Chroma [the mixed bill headlined by Wayne McGregor’s Chroma]. In fact, I was thinking of calling everything Chroma! But a couple of years ago, when we were doing a business plan, I sat down with the dancers and said, “In five years’ time what do you want this company to look like?” The feedback I got was really interesting. We have this motto, “Caring for tradition, daring to be different”, and the dancers said to me loud and clear they felt we were too daring and not caring enough with the repertoire. They want to be doing more of that repertoire they feel is important to them as ballet dancers. So I said okay. I took it on board.

If you look at this year’s repertoire as well as next year’s it does have a bit more of a heritage feel. If they want to be doing that work, I want to do it for them. Equally, there have been irons in the fire for a number of years. Originally we were going to do Giselle last year but then Paris Opera Ballet announced they were coming [to Sydney with Giselle]. So that fell into 2015. It’s been way too long out of the repertoire. It’s great to get Maina’s production back.

Juliet Burnett and Adam Bull in a promotional image for Giselle. Photo: Georges Antoni

Juliet Burnett and Adam Bull in a promotional image for Giselle. Photo: Georges Antoni

Graeme Murphy’s Swan Lake, which premiered in 2002 and has been rarely out of the repertoire, will be seen in Beijing in October and have a commercial season in Sydney.

That’s exactly what it is [commercial]. That’s something the board has wanted us to do; the board have kept on at us about why haven’t we been more commercial with our seasons. The dates that we [were going to have] in Brisbane were gobbled up by Wicked so we had two weeks available, there were two weeks at the Capitol [in Sydney] and bingo.

Normally in Sydney we have the Australian Opera and Ballet Orchestra but they are with Opera Australia at that time [February] so we have to factor in the orchestra as a cost. But now that we have an orchestra [the AB recently took over management of Orchestra Victoria] we can bring them up. It’s exciting.

Beijing particularly asked for Swan Lake. It’s opening the dance festival at the National Centre for the Performing Arts [in October 2015]. They wanted our big international success. There will also be a mixed program – Suite en Blanc, [Stephen Baynes’s] Unspoken Dialogues and [Twyla Tharp’s] In the Upper Room.

In Shanghai we’ll do Cinderella and the mixed bill.

Is there a danger of The Australian Ballet appearing to be a one-trick pony with the many repeats of the Murphy Swan Lake?

We’re negotiating to go back to London and they are asking us to bring Swan Lake again. In 2005 it was compromised [the AB season started only days after terrorist bombings in London]. It’s still got currency. I’m cognisant that we shouldn’t do it too often, but it hasn’t been seen in Sydney since 2008. That’s coming on for seven years. The company looks so good in it; it’s in their DNA.

The Ashton program will be seen in Sydney, Melbourne and Adelaide. It features The Dream, which gives its name to the program, plus Monotones II and Symphonic Variations.

The Ashton program has been in and out of planning for the last four years. I finally managed to nail it. The Dream is such an amazing, beautiful ballet, and we haven’t done any Ashton now for 10 years. We did La Fille mal gardee in 2004. The last time we did The Dream was 1980. Symphonic’s never been done. Monotones was done in 1991 and we did Birthday Offering in the 90s. Les Patineurs was even earlier – before I joined the company. There’s a real gap in our Ashton repertoire, and because it played such an important part in the formation of the company I felt it was time to get a bit of Ashton happening again.

Chengwu Guo and Madeleine Eastoe in a promotional image for The Dream. Photo: Georges Antoni

Chengwu Guo and Madeleine Eastoe, The Dream. Photo: Georges Antoni

I know Dame Peggy van Praagh wanted the company to do Symphonic but Ashton wouldn’t let anyone much do it except for the Royal Ballet. I really wanted it. [Rights owner] Wendy Somes and I have been having these discussions and I was thrilled she thought it would be good for us to do it.

The Ashton style – lyrical, with luxurious and expressive use of the upper body and filigree footwork – is notoriously difficult.

I saw the Royal do Scènes de ballet and remember watching it and saying, “Now I know what the Ashton style is, and the RB do it like no one else. They were unbelievable. The use of body, that quickness of the footwork. It was so beautiful. I thought, “It’s going to be really good for us to attempt that. It is very different to what we do so it will be interesting to have that challenge. We’re going to send some of the principals over to work with Anthony Dowell [who owns the rights to The Dream and who is unable to travel to Australia to stage the ballet]. We wanted him to come out, but he can’t.

McAllister felt the company needed a new Sleeping Beauty. Stanton Welch’s 2005 production had two sell-out seasons and covered its costs in the first season, but was considered flawed in some respects. It will not be revived.

We needed to do another Sleeping Beauty. I could have brought in a production – Marcia Haydee’s, or Peter Wright’s. Then I thought, maybe I should have a crack at it. Why not? In my career I’ve always thrown myself in at the deep end. I’ve done a lot of thinking about it. I’m seeing my production in the way Maina approached hers and Peggy approached hers. There will be choreography and I will be choreographing, but in the style of Petipa and embroidering what the existing choreography is. That’s why I’m not crediting myself as a choreographer. I’m a curator, I guess, of Petipa’s choreographic input. It’s exciting. It is an apprenticeship, seeing all of those productions I’ve commissioned in my time and being in all those productions in the past. Watching Alexei creating Cinderella last year was just amazing. Being in the studio with Graeme and Janet [Vernon] when they did Swan Lake and Firebird and Nutcracker – you get a sense of what you like, what you don’t like. If I’d commissioned someone to do a Sleeping Beauty I would have annoyed the shit out of them.

Lana Jones, Sleeping Beauty. Photo: Georges Antoni

Lana Jones, Sleeping Beauty. Photo: Georges Antoni

The one contemporary program, 20:21, offers George Balanchine’s Symphony in Three Movements, a revival of Tharp’s In the Upper Room and a new work from resident choreographer Tim Harbour. It will have unbroken seasons in Melbourne and Sydney, despite the success this year in Sydney of what McAllister calls his “zipper”, two programs in repertory sharing the season of 20 performances. Did the zipper not work?

It went off like a frog in a sock. Played to 93 per cent capacity over the whole season. We were desperately trying to do it again this year. When the Brisbane dates fell out [due to Wicked] it all went in a heap. We were going to do 20:21 and Ashton in a zipper but didn’t have time to get it up for Sydney. [The logistics are complicated, but essentially a Brisbane season would have allowed some of the work to be rehearsed and performance-ready earlier in the year.] The zipper’s going to come back in 2016. The thing is having two mixed programs that are quite different. [This year’s] Ballet imperial was so different to Chroma. That’s the plan going forward. But we have to have something in the bag or premiere it somewhere else for it to work. In 2016 we can do it without compromise. It’s a great concept.

Has Bodytorque been pushed aside?

We sandwich Bodytorque in wherever we can. It’s never really had a home. It did [physically] in the Sydney Theatre but sometimes it was in October, sometimes in May, wherever we could shove it. Next year, the Canberra time just ate the Bodytorque opportunity. I didn’t want to lose it completely, so said let’s think creatively about how we can have Bodytorque humming along. I got the idea for the up-late, pop-up Bodytorque. As with the 50th anniversary year [in 2012], I couldn‘t find space for it. It tends to be the first thing that drops off. It was a bit the same this year, but I said, no, we’re not going to give it up. It will be in both the 20:21 and Dream programs as an add-on after performances.

How does it work? It will be on the stage. We’ll invite the audience to stay. We’re still working through the logistics. I think we will be in touch with people who will be in the audience on the nights we’re doing it and ask them to register. Then we’ll know how many people will be there. We will also build a Bodytorque group – groupies – through social media networks. Those people will just turn up for the [Bodytorque] show and then we might have a bit of a drink afterwards. There will be just one 15-minute piece.

The Australian Ballet nominally has 72 dancers, although in practice usually 69 or 70. McAllister wants to increase that to 85 by 2017.

It’s to enable us to do other things – children’s ballet for instance. We’ve been talking about this for two years. Every time we get to the logistics of staging it we can’t do it. In 2016 and 2017 we’re hoping to add eight and then seven into the company. It’s primarily to work on the kids’ ballet, regional touring and the choreographic program. But I don’t want to start AB II. That’s not what we want. It just gives us a bit more flexibility. We’re not going to be staging two seasons at the one time. Well, we’ll be doing a kids’ ballet while we’re doing mainstage, but we’re not trying to double our coverage. This is a way of extending our reach and giving our dancers a little bit of breathing space. We do a lot of shows and the dancers are highly worked. And I want to be able to field 24 swans in Swan Lake and 24 Shades in Bayadere without having to employ [extra] people, which we currently do. We want a company closer in size to the Royal Ballet.

Next year McAllister will overtake Maina Gielgud as The Australian Ballet’s longest-serving artistic director – she reigned for 14 years – and is contracted until 2017.

What happens then? I don’t know. I’ve been very honest with the board. I’ve said I don’t see this job as a right. I’m well aware of the length of my service. They’ve said they are very happy with what I’m doing. We’ll keep the dialogue going.