The Australian Ballet launches a new look

The Australian Ballet’s 2014 season introduces a few surprises

IT used to be chiselled in stone. Every mainstage season of the Australian Ballet in Melbourne would have 11 or 12 performances and in Sydney, in the smaller Joan Sutherland Theatre, there would be 20 or thereabouts.  It didn’t matter if it was Swan Lake or a harder-to-sell triple bill; the number of performances was pretty much the same. The AB would add a few extra shows for extremely popular repertoire, as it is doing for next year’s Nutcracker (the Peter Wright version), but there was no adjustment down for the mixed programs that are rarely as well attended as full-length ballets. Each season was also strictly dedicated to the one program.

AB dancer Benedicte Bernet in a promotional shot for the 2014 season. Photo: Paul Scala

AB dancer Benedicte Bernet in a promotional shot for the 2014 season. Photo: Paul Scala

For 2014 the AB has made several changes that look eminently sensible: win-win-win for audiences, dancers and the company’s bottom line. There is a reduction in the number of Sydney and Melbourne performances of the two mixed bills, Imperial Suite and Chroma, with Sydney seeing a big change – in the slot where you’d usually see one mixed bill, Sydney will divide the time more or less equally between two. The change in Melbourne is far less marked in this respect; it gets a reduction from the norm of only a couple of performances. The cities will each get exactly the same number of performances for Imperial Suite (nine) and Chroma (10), which suggests Melbourne is a rather stronger market for mixed bills than Sydney given the significant difference in theatre capacity between Melbourne’s State Theatre and the Joan Sutherland. Or perhaps that’s just how the juggling act had to work.

In Melbourne Chroma will precede Imperial Suite but in Sydney the programs will be presented in repertory – a major change. On Saturday May 17 it would be possible to see both by attending the matinee and evening performances.

Melbourne does have one little overlap. For the first time the new choreographers’ workshop, Bodytorque – in its 10th year – will be staged in Melbourne and one of the three performances (June 24) will be in the midst of the Imperial Suite season (June 20-28). This is good news for Melbourne dance-lovers who have been asking for Bodytorque, but it will be challenging for the choreographers. Instead of the Sydney Theatre’s friendly proportions for smaller-scale work they will have to come to grips with the huge State Theatre stage and auditorium.

Ako Kondo in a promotional shot for the AB's Bodytorque.DNA. Photo Paul Scala

Ako Kondo in a promotional shot for the AB’s Bodytorque.DNA. Photo Paul Scala

In her introduction to the season, the AB’s new executive director, Libby Christie, wrote that the changes would allow a more diverse selection of works, create flexibility for audiences and give dancers more opportunities to perform. In broad terms it means Sydney now has room for an extra mainstage program, although it loses Bodytorque. And it gives the AB the chance to get bigger houses for the contemporary work. Well, that’s obviously the idea, and good luck to it.

Work from both the AB’s resident choreographers will be seen in Melbourne and Sydney next year. Stephen Baynes will be part of the Chroma program (headlined, obviously, by Wayne McGregor’s Chroma from 2006 and including Jiri Kylian’s Petit Mort and Sechs Tanze). The AB has also programmed Stanton Welch’s 2010 production of La Bayadere, made for Houston Ballet where he is artistic director. The often omitted temple-tumbling fourth act is included and there is the promise of live snakes. If this photograph is any guide, the production will live up to its tag of being opulently Oriental in design – Peter Farmer is the man responsible.

Robyn Hendricks and Ty King-Wall give a taste of Stanton Welch's La Bayadere. Photo: Paul Scala

Robyn Hendricks and Ty King-Wall give a taste of Stanton Welch’s La Bayadere. Photo: Paul Scala

In addition, Brisbane is rapidly becoming ballet central: next year the AB gives it two programs, Kenneth MacMillan’s Manon (February 21-March 1) and Imperial Suite (February 26-27), a strong addition to the visit from American Ballet Theatre in August-September (Swan Lake; a mixed bill of Twyla Tharp, Jerome Robbins and Alexei Ratmansky) and Queensland Ballet’s presentation of MacMillan’s Romeo and Juliet, featuring international guest artists Carlos Acosta and Tamara Rojo. It is worth noting that this year extra performances have been added to all QB’s seasons in artistic director Li Cunxin’s first full year, despite sell-out performances for the visiting Bolshoi.

Adelaide is also visited in 2014, and will see Alexei Ratmansky’s Cinderella, which premieres in Melbourne later this month and is seen in Sydney from November 29.

The Australian Ballet’s 2014 program in brief:

Manon (MacMillan), Brisbane, Melbourne and Sydney

Imperial Suite (Balanchine’s Ballet Imperial, Lifar’s Suite en blanc), Brisbane, Melbourne and Sydney

Chroma (McGregor, Kylian, Baynes), Sydney and Melbourne

La Bayadere (Welch), Melbourne and Sydney

The Nutcracker (Wright), Melbourne and Sydney

Cinderella (Ratmansky), Adelaide

Bodytorque.DNA, Melbourne

Ty King-Wall

The Australian Ballet has a new principal artist

WHEN David McAllister walks onstage at the end of an Australian Ballet performance it usually means just one thing, and so it was the afternoon of April 6  in Sydney. McAllister named Ty King-Wall, 26, the AB’s newest principal artist after his performance as Basilio in Don Quixote.

King-Wall said the next day he had no warning, thinking his parents had come from his native New Zealand simply to see him dance. Afterwards they thought they should be receiving all the congratulations, not him, King-Wall joked. “And that’s right.”

Ty King-Wall, new principal artist of The Australian Ballet. Photo: James Braund

Ty King-Wall, new principal artist of The Australian Ballet. Photo: James Braund

With King-Wall it wasn’t a matter of if he would be promoted, but when. He has been dancing principal roles for years, taking the role of the Prince in Stanton Welch’s Sleeping Beauty as early as 2009, just three years after he joined the Australian Ballet. In 2010 he was the Prince in the Peter Wright version of The Nutcracker, Franz in Coppelia and Octavian in Graeme Murphy’s The Silver Rose.

McAllister needed to find the right moment to make the announcement, and more or less had it thrust upon him. He likes a dancer’s family to be in the auditorium if possible when he promotes a dancer so phoned King-Wall’s parents in New Zealand to suggest they might like to think about planning a trip to Sydney. He was told his call was timely: they were just about to get on a plane. So that sorted the date – April 6, at the matinee.

King-Wall’s father had not seen his son dance since his Australian Ballet School graduation performance – coincidentally of the third act of Don Quixote.

Fortunately for McAllister, King-Wall gave a principal-worthy performance on the 6th. He claims to have been “feeling a little bit down after the first act – there were a couple of things I wasn’t really happy with. I had to tell myself to pull it together and I really enjoyed the third act.” From the auditorium things looked just fine. King-Wall has lovely proportions and elegant bearing. He had easy elevation, the cleanest of pirouettes, the occasional special effect thrown in without triumphalism, his double tours were landed in firm, tight fifth positions and he confidently negotiated the tricky one-armed lifts in Act I. While King-Wall isn’t naturally an ebullient character, his Basilio was charming, sweet and amusing.

He was well matched with principal Leanne Stojmenov, a lively and funny Kitri with lovely touches of sensuality.

There had been buzz about King-Wall within the company during the Melbourne season of Don Quixote and in Brisbane when the AB performed Swan Lake (the Stephen Baynes version). On April 6 one enterprising dancer asked McAllister if he was going to promote King-Wall that day, basing his question on the fact McAllister was wearing a suit. McAllister was thus attired because he was taking part in a talk later, but when a story is on the move anything will be examined for signs.

In any event, it was that day. King-Wall had no warning but wasn’t especially surprised. He has been “working towards this for a long time”.

His parents weren’t initially followers of the ballet. King-Wall began taking classes when he was seven because a friend had started and “was a bit apprehensive and wanted a guy to keep him company. I said sure, I’ll give it a go.” The friend quickly fell by the wayside but King-Wall was hooked. At 16 he was accepted by the Australian Ballet School and joined the AB in 2006. McAllister describes him as “a born prince”.

“It felt the right time for him to take on that mantle,” says McAllister. “He’s really proved his worth.” Even though King-Wall is the youngest of the AB’s 12 principal artists (soon to be back to 11 when Yosvani Ramos leaves at the end of the Don Quixote Sydney season), he could have been elevated even sooner had he not had a significant back injury. “He did have a setback,” says McAllister, “but in a funny way the injury made me more sure that he was right for promotion. He was so professional and committed, and had the tenacity to make sure he rehabbed and rehabbed properly.

“Once he got back, I thought yep, he’s going to be fine. The way he approached it I knew that it was going to be all right.”

King-Wall says the company’s support during his period of injury has made him “relieved and grateful” that he now has reached the top rank. The promotion puts him at the same rank as his off-stage partner, AB principal Amber Scott. “I have a deep respect for the rank and what it means,” he says. “I understand the responsibilities and expectations.”

He’s happy, too, to be as busy as possible. “It’s a short career and you want to make absolutely the most of it.” The AB will be getting its money’s worth in the upcoming Vanguard triple bill, as King-Wall is cast in each work – Balanchine’s The Four Temperaments, Jiri Kylian’s Bella Figura and Wayne McGregor’s Dyad 1929, created on the company in 2009. He has danced only in Dyad 1929 and is looking forward to exploring the other two works.

Ty King-Wall is scheduled to appear in Don Quixote at the Sydney Opera House on April 12, 17 and 22. Vanguard opens at the Sydney Opera House on April 30 and in Melbourne on June 6.