Swan Lake, Queensland Ballet

Queensland Performing Arts Centre, May 5.

Queensland Ballet’s Swan Lake had a 42nd Street quality on opening night as junior company member Joel Woellner was chosen to dance Prince Siegfried alongside the seasoned Odette-Odile of QB principal artist – and former top-ranked star at the National Ballet of Cuba – Yanela Piñera.

Piñera has presence in spades and technical prowess to burn. She laid out her credentials within seconds of taking to the stage with a pure, extended balance on pointe that was an eloquent expression of the Swan Queen’s sorrow and entrapment. As the imposter Odile she decorated the treacherous (for some; not her) fouette sequence with triple pirouettes and gave a magisterial account of her solo.

Qld Ballet

Yanela Piñera and Joel Woellner in Ben Stevenson’s Swan Lake. Photo: David Kelly

Piñera nailed the big effects that seem to be a Cuban birthright, including sky-high extensions and Odile’s don’t-mess-with-me grand pirouettes in Act 3 but it was the delicate detail that lingered. Odette’s tiny flutters of foot against ankle in Act II were exquisite.

Woellner was going out a courageous youngster but had to come back a star, or at least as close to one as possible in a nearly impossible assignment. The desperate, deep-seated passion that should drive Siegfried eluded him, resulting in a muted relationship with Odette. There was, nevertheless, gleaming beauty in almost all his dancing. Double tours were plush and precisely landed and lovely air turns finished in stretched, poised arabesques. It was impressive to see how much value he gave each moment, never smudging or cutting steps short. Woellner is not yet a fully-fledged prince but is a hugely promising princeling.

Qld Ballet

Joel Woellner as Prince Siegfried in Swan Lake. Photo: David Kelly

For the first Swan Lake of his tenure as QB artistic director, Li not surprisingly chose Ben Stevenson’s 1985 version made for Houston Ballet. It makes sense for the size of the company – currently at 32 permanent members and 10 Young Artists – and Li knows the production well, having danced in it in those early days. One can also never underestimate the affection and loyalty Li has for Stevenson, now in his early 80s. Stevenson was responsible for Li’s American career and therefore in a sense all that followed.

It’s a conventional production based on the 1895 Petipa-Ivanov version. Stevenson retains some of the best-known choreography, although much is new. The 1985 designs by David Walker placed Stevenson’s ballet in the late 19th century but for this incarnation QB has borrowed Kristian Fredrikson’s luxuriant Renaissance-tinged designs made for Russell Kerr’s Royal New Zealand Ballet version in 1996.

The beating heart of Swan Lake is the first lakeside act in which Siegfried comes across Odette and her retinue of swan maidens, here a corps of 24 that sensibly incorporates the two Big Swans and four Cygnets. It’s a significant number for a company of QB’s size and was augmented by Queensland Ballet Academy pre-professional students. The teaching is clearly excellent. The corps as a whole looked beautifully schooled and had the strength-in-unity power that makes Act 2 so captivating. (And these dancers have to be strong: Lucy Green, newly appointed soloist at QB, on opening night danced in the Act 1 pas de trois, was a Cygnet in Act 2 and the Spanish Princess in Act 3. This was the night before her Odette-Odile.)

Qld Ballet

Lucy Green, Neneka Yoshida, Lina Kim and Teri Crilly. Photo: David Kelly

Different details in storytelling mean the fit isn’t always exact between Stephenson’s vision of the ballet and Fredrikson’s designs. The white acts looked wonderful, of course, but in the first and fourth acts it wasn’t always easy to get a grip on all-important distinctions of rank. It was surprising in this respect to see the Queen arrive without a suitable entourage to Siegfried’s coming-of-age celebration, symbolically set in a thick glade through which there’s a glimpse of decaying grandeur.

In Act 3, when foreign princesses are presented to Siegfried so he can choose a bride, the princesses lead the national dance of the country they represent. At RNZB the princesses wore distinctive, decorative tutus; here they are dressed similarly to all the other women in their troupe and dance like entertainers, some friskily showing quite a lot of leg and behaving quite unregally.

Stevenson trims the action significantly, for good and bad. Act 1 is enjoyably fast-paced while shortened Acts 3 and 4 elide with dramatically convincing sleight of hand. I was less convinced by the transition from Acts 1 to 2, in which the Prince dances his yearning solo while his mother (Zenia Tátcheva) pressures – no, harangues – him about the weighty responsibilities of State he must take on. It rather spoils the mood.

With the production coming in at under two hours of dancing, Tchaikovsky’s music at times sounds chopped back to its detriment although at the opening the Queensland Symphony Orchestra under QB music director Nigel Gaynor delivered a sympathetic account of what is there. Concertmaster Warwick Adeney’s violin solos in Act II and III were sublime.

Qld Ballet

Lina Kim and Victor Estévez in Act 1 of Swan Lake. Photo: David Kelly

Stevenson’s choice of music for Siegfried and Odette’s final pas de deux in Act 4 comes from left field. Tchaikovsky died in 1893 and Riccardo Drigo had a hand in arranging music for the 1985 Petipa-Ivanov production, orchestrating Tchaikovsky’s piano piece Un poco di Chopin, a mazurka, for this section. Drigo smoothed out the mazurka’s prominent accents and slowed the conventionally bright tempo to achieve a romantic quality, but to these ears the music underplays the depths of Siegfried’s agony and contrition. Stevenson, however, obviously feels it better expresses Siegfried’s remorse for having betrayed Odette. In any event, it is rarely heard these days.

Perhaps transcendence was hard to come by on opening night but there was plenty of fine dancing, particularly from Lucy Green, Lima Kim and Victor Estevez as they whizzed and fizzed through the Act I pas de trois. Vito Bernasconi as Von Rothbart didn’t have a huge amount to do but looked imposing, albeit perhaps rather too emphatic in his directions to Odile in the ballroom scene. It was too much of a giveaway.

As is the case in every production I’ve seen, Von Rothbart and Odile are immediately accepted as having a right to be at the ball with no questions asked. It’s always bemusing. (Kevin McKenzie’s American Ballet Theatre version has a red-hot go at dramatic coherence by making Von Rothbart amazingly sexy and charismatic. He makes every woman in the room, including Siegfried’s mother, bewitched, bothered and bewildered.)

Those lucky enough to have tickets for May 11 will see guest artist Evgenia Obratszova from the Bolshoi as Odette-Odile (she also danced on May 9). And at certain performances there is the interesting – but by no means revolutionary – splitting of those roles as Mia Heathcote dances Odette and Neneka Yoshida tackles Odile.

Swan Lake ends on May 13.

Raw, Queensland Ballet

Works by Liam Scarlett, Greg Horsman and Christopher Bruce. Queensland Ballet, Queensland Performing Arts Centre, Brisbane, March 17.

Death comes to us all eventually but does it have to come so cruelly and so soon to so many? Christopher Bruce’s Ghost Dances was made in 1981 in response to human rights abuses in Pinochet’s Chile but its relevance is, sadly, universal and continuing. It’s an important addition to Queensland Ballet’s repertoire and the key work in the Raw triple bill.

55 Carmody Rd St.Lucia

Teri Crilly and Jack Lister in Ghost Dances. Photo: David Kelly

Ghost Dances is simplicity itself. In a place somewhere between the real world and the darkness beyond, young people dance with joy and spontaneity to the intoxicating music of their homeland as three masked and painted malevolent spirits watch.

The hard, muscular vigour of the masked ones is in stark contrast to the fleet, gorgeously fluid folk-inflected dances that speak of community and continuity. Bodies tilt and sway, feet flex, hands and arms link, legs kick up playfully and heads bob to the sound of breathy panpipes, warm guitars and drums (all the pieces are by Chilean group Inti-Illimani).

But there are intimations of anguish too and no escape from death’s clutches. At the end those who had been so vibrant are drained of vitality. Not so the masked men. They wait for their next victims.

Ghost Dances needs to be at once poetic and rough-hewn. This deeply affecting piece got those qualities from all 11 dancers in the first cast, who cast off the formalities of classical technique to dig deep into movement that takes its impulses from the earth rather than reaching for the sky. My eye was consistently drawn to Vanessa Morelli for the way she lived every moment with every fibre of her being.

An unintended consequence of staging Ghost Dances is that it made Raw’s opening work, Liam Scarlett’s No Man’s Land (from 2014), seem too glossy and calculating in its effects. Scarlett didn’t shy away either from some well-worn effects. Take, for instance, the deep second position as a way of visually describing misery. We saw it in Ghost Dances, with the legs in parallel, and we saw it in No Man’s Land in turnout. Scarlett also unfortunately added a silent scream.

55 Carmody Rd St.Lucia

Liam Scarlett’s No Man’s Land. Photo: David Kelly

Scarlett was recently announced as QB’s first artistic associate and the company will stage one of his works each year for at least an initial four years. I gather new works will alternate with existing pieces and it was inevitable that for 2017 a revival would be on the program. No Man’s Land was made for English National Ballet’s Lest We Forget program, presented in 2014. That year was, of course the centenary of the beginning of World War I and would have had much resonance in London at that time.

QB programmed its own Lest We Forget commemorative evening last year, featuring a welcome performance of Paul Taylor’s Company B and new works by Brisbane-based choreographer Natalie Weir and Tulsa Ballet’s resident choreographer Ma Cong. Ma Cong’s In the Best Moments was negligible; Weir’s We Who are Left was affecting but perhaps a pièce d’occasion. Which is also the category into which No Man’s Land fits.

Shorn of its commemorative context, No Man’s Land looked stranded. It has an impressive set (John Bausor) and lighting (Paul Keogan) that summon the inferno of a munitions factory during the Great War. Women have joined the assembly line in the absence of their men, whose images and fates they conjure and mourn to heavily orchestrated Liszt piano pieces, apart from the final section for piano only.

The bombastic arrangements of selections from Liszt’s Harmonies Poétiques et Religieuses (1847) had the effect of overwhelming the emotional connections between Scarlett’s seven couples. Mia Heathcote and Victor Estévez were lovely in their pas de deux although one was aware more of the shapes than the reason for being. Even with the music heard as written for the big pas de deux at the end of the ballet, that section felt like a superbly crafted depiction of what pain might look like while, at least for this viewer, failing to pierce the heart. Ultimately No Man’s Land beautifies loss and sacrifice.

Laura Hidalgo and Rian Thompson danced the final pas de deux heroically and it is undeniable that Scarlett creates movement that feels musical and organic even when most difficult. His weakness is in storytelling. As many before me have said, he needs help in this area. Only then will his abundant gifts be in the service of truly original and lasting work.

Perhaps his tenure in Brisbane will help. Scarlett, who is still only 30, will be out of the international spotlight where he habitually works. It will be fascinating to see what emerges.

Sitting in the middle of the Raw triple-header, Greg Horsman’s Glass Concerto tested the mettle, stamina, precision and speed of three couples as they were swept along by the mesmerising rhythms of Philip Glass’s Violin Concerto. After an early reminder of – homage to? – Twyla Tharp’s In the Upper Room, also to the music of Glass, Horsman gets into his own stride. Glass Concerto doesn’t break any new ground but it’s entertaining and lively, and it sure sets the dancers a raft of technical challenges, met better at the opening performance by the women than the men.

55 Carmody Rd St.Lucia

Yanela Piñera in Greg Horsman’s Glass Concerto. Photo: David Kelly

The lovely second movement, in which calm, slow violin phrases sing above an undulating, fast-moving current in the orchestra, puts the spotlight on the lead woman. In the first cast principal artist Yanela Piñera’s calm authority and awe-inspiring strength – the woman is ripped – burned themselves into the retina. I liked that when the three men lifted her it felt in homage to her awesomeness rather than the usual balletic flinging about of a smaller person by a stronger bigger person.

Alexander Idaszak partnered Piñera well and looked rather more at home with the quieter demands of the choreography than the allegro eruptions that Horsman has much fun with. Camilo Ramos and Rian Thompson also didn’t look quite as sharp as required when things moved into top gear although to be fair to Thompson, he’d put a lot into the preceding No Man’s Land.

The secondary women, Lina Kim and Tamara Hanton whizzed around like tops and looked terrific in George Wu’s black-with-sparkles costumes. As Glass Concerto continued the dancers shed a skirt here and a sleeve there. The effect was elegant and witty.

It’s a pity QB doesn’t currently have the resources for live music at all performances. It was recordings all the way in this program, although as QB is in line for a boost in funding from the Australia Council perhaps there is hope in sight.

Raw ends March 25.

A version of this review appeared in The Australian on March 20.

About last week … April 2-8

In the week just gone I went again to The Australian Ballet’s Swan Lake, this time to see Lana Jones as O/O. I’ll wait until I’ve seen Natasha Kusch – coming up at the Saturday matinee – before I embark on a full discussion of Stephen Baynes’s production and the key exponents. In the meantime I’d like to start a petition to free Rudy Hawkes. The AB senior artist has been fronting up night after night as either Prince Siegfried’s mate Benno or the wicked Baron von Rothbart. In fact, he is listed as dancing one or other of these roles at 18 of the 21 performances (they end on April 20 in Sydney). I do think that’s cruel and unusual punishment for such a senior dancer.

But thanks to the AB for putting up on its website and leaving up casting for the key roles for the whole season. It’s helpful. Queensland Ballet doesn’t do it, nor does West Australian Ballet.

Speaking of websites, the AB has given its site a big, big makeover. It was needed, although I feel it’s going to take some time to work out how to navigate its many tendrils. Some first thoughts: I’m not sure it’s terribly accurate to label the senior artists “rising stars”: several have been at that rank for quite a while and may stay there; in addition they dance principal roles regularly. And the soloists are rather unnecessarily dubbed “singular talents” and the coryphées “dancers to watch”. I do, however, direct you to the section Music at the Ballet. Therein (keep scrolling) you will find notes on “Iconic scores of The Australian Ballet”, written by yours truly.

And some more idle website thoughts. Having just been to Brisbane to see Queensland Ballet’s A Midsummer Night’s Dream, the cast for which is studded with artistic director Li Cunxin’s recent Cuban hires, I thought I’d take a look at Ballet Nacional de Cuba’s website to see just who was left in Alicia Alonso’s company, so frequently denuded of talent as successive waves of dancers seek better conditions elsewhere. Ages ago BNC was still listing Yanela Piñera as a premier dancer (equivalent to a principal here) and Camilo Ramos as a principal (equivalent to a senior artist). And they are even still listed as being in Havana despite joining QB last year. Victor Estévez is also listed as a BNC premier dancer. The 22-year-old joined QB this year as a principal.

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Phillip Lowe, Mike McLeish, Pippa Grandison, Glaston Toft as The Seekers. Photo: Jeff Busby

The Seekers bio-musical Georgy Girl arrived in Sydney last week with a thud. It features pretty much all The Seekers’ folk-pop hits, gorgeously sung by Pippa Grandison (playing Judith Durham) and Phillip Lowe, Mike McLeish and Glaston Toft as, respectively, Keith Potger, Bruce Woodley and Athol Guy. The problem, as so many have said, is with the book by Patrick Edgeworth, Durham’s brother-in-law. It doesn’t so much craft a story as endlessly drop facts – plop, plop, plop – each with the same weight as the one before or after. Let’s put it this way, a book that spends as much time on Durham’s attack of appendicitis as on The Seekers’ extraordinary Sidney Myer Music Bowl homecoming concert in Melbourne in 1967 (crowd: 200,000) is not an effective one. The dialogue is laboured, the jokes cheesy, the choreography clichéd … why go on? Those songs, though. They are smashing and Grandison is special.

On Thursday night it was off to Belvoir to see Kit Brookman’s new play The Great Fire. The state-of-the-world family drama with lots of revelations and fingerpointing doesn’t break any new ground unfortunately. There are, however, several pluses. It’s directed by the ever-excellent Eamon Flack and has a tiny role for Peter Carroll to which he brings devastating truth.

On Friday Squabbalogic Independent Music Theatre opened The Original Grease on Friday in the bijou Reginald Theatre in the Seymour Centre, where Squabbalogic is a resident company. Squabbalogic’s artistic director Jay James-Moody is a talented director and can do a lot with very little but in this instance he was over-stretched (and puzzlingly introduced a brief flash of nudity into proceedings, which seemed a sign of panic). It probably seemed an excellent idea to have performers close to the age of the characters but it was always going to be a big call to find 17 suitable triple-threat performers (for that is the size of The Original Grease cast) in the one place at the one time. Those onstage were mostly not long out of training and it showed, although it was worth giving it a go.

Grease Company -- (pic Michael Francis

The cast of Squabbalogic’s The Original Grease. Photo: Michael Francis

As I wrote in my review in The Australian on Monday, “The Original Grease is a piece of music-theatre archaeology that gives an insight into how something little became something big, sacrificed a lot of its rough-and-tumble energy and made a fortune.” And yes, you can see why the show would have been so embraced by Chicago in 1971 when it was made and in 2010 when the reconstruction appeared. I liked its scrappiness and sense of community, even though it’s messy and over-long. But with the best will in the world one couldn’t call this production evenly cast. I do, however, look forward to seeing Coral Mercer-Jones in something else. She was a knockout Rizzo.

Georgy Girl, State Theatre, Sydney, until May 27. Perth from July 8.

The Original Grease, Seymour Centre, Sydney, until May 7.

A Midsummer Night’s Dream

Queensland Ballet, Queensland Performing Arts Centre, Brisbane, April 1.

The second act of Liam Scarlett’s A Midsummer Night’s Dream begins with deliciously controlled chaos. At the behest of Oberon, lord of the forest and fairies, Puck has got busy with magic love dust. The result is instantaneous passion for whoever is first seen, complicated by Puck’s tendency to get things wrong. Mayhem ensues as pleasure-seeking mortals, their entourage of bumbling rustics and the fairies whose domain has been invaded dash about trying to make sense of things. Proper order has been disrupted and must be restored, but not before there has been an ample display of foolishness from all quarters.

Scarlett remains entirely faithful to Shakespeare’s comedy, apart from the unsurprising excision of Theseus’s Athenian court. Otherwise it’s all there. Oberon and his queen Titania squabble over a Changeling boy (amusingly clad in a purple onesie and clutching a storybook and a toy donkey), humans enter the forest at night and are captured by its mystery, and Titania is smitten with the low-born Bottom, who has unfortunately gained an ass’s head but is an absolute sweetheart.

Queensland Ballets Midsummer Nights Dream. Laura Hidalgo and Rian Thompson. Photo David Kelly HR

Rian Thompson and Laura Hidalgo in A Midsummer Night’s Dream. Photo: David Kelly

Scarlett, not yet 30, is one of the most sought-after names in classical choreography with commissions from top-drawer companies including New York City Ballet, San Francisco Ballet, English National Ballet and his home base, London’s Royal Ballet. Queensland Ballet’s co-production with Royal New Zealand Ballet (which premiered the work last year) gives these smaller outfits entry into a rather exclusive club. It’s quite a coup and they have a delectable ballet to show for it – one that’s genuinely funny, frequently touching and outstandingly sensual in its movement and visual appeal.

Tracy Grant Lord’s set design provides Scarlett with a sumptuous playground, an ornate multi-level affair that evokes a dense tree canopy and allows the fairies to dart in and out of view, gorgeously bathed in Kendall Smith’s lighting. Puck is established as a creature of the air, spotted at first in a lofty hideaway (he has to shimmy down a pole to reach ground level) and Oberon as an autocrat who likes to survey his domain from on high and whose moods can alter the very atmosphere. When he is angry the stars take notice.

Grant Lord was responsible for the striking costumes too – adorably fluffy tutus in saturated colours for the fairies and sportif day wear for the mortals, who have come equipped with tents, torches, nets and the rustics for backup. They are on a fairy safari. Bless.

Queensland Ballets Midsummer Nights Dream. The Lovers and Rustics. Photo David Kelly

Lovers and rustics in A Midsummer Night’s Dream. Photo: David Kelly

Scarlett fills the forest with rapturous choreography that eloquently describes story and music. (The first thing everyone says about Scarlett is that he is intensely musical.) With their busy arms and feet the fairies indeed look as if they can fly while their swooning (and at one point shivering) backs give a delicious hint of excitements to come. The language is unquestionably classical but Scarlett relaxes ballet’s upright lines with swirling, supple freedom in the upper body that contrasts happily with bright, sharp, ground-skimming footwork. The characters are thrilingly alert and alive. It’s not hard to feel the influence of the Royal Ballet’s founder choreographer, Frederick Ashton, although Scarlett has a confident voice of his own. He certainly hasn’t copied Ashton’s one-act The Dream but there is nevertheless a delicate Ashtonian quality in this ballet.

On opening night QB’s newest principal dancer, Victor Estevez – just 22 years old! – was expansive and commanding as Oberon and Laura Hidalgo’s Titania was light and airy when with Bottom and more sexually charged when with Oberon. The Act II pas deux in which the two make up after their quarrel is stunningly intimate – the sexy little shivers of Titania’s legs as she is entwined with Oberon say it all. Camilo Ramos was a bouncy, highly likeable Puck and Rian Thompson delightful as Bottom. Every fairy and rustic had his or her moment too. This is a ballet made for relatively small forces and a meaningful part for everyone.

Of course the mortals never manage to capture any fairies, those enticing supernatural beings whose presence is known and felt but remains invisible. On opening night Yanela Piñera, Shane Wuerthner, Clare Morehen and Vito Bernasconi were the four high-spirited lovers who leave the forest with their nets empty but their hearts full. Scarlett makes each of them individual and engaging.

A Midsummer Night’s Dream is danced to the much-loved Mendelssohn incidental music for Shakespeare’s play, augmented with selections from other works by the composer to create a full-length ballet. Nigel Gaynor, who conducted Queensland Symphony Orchestra in a spirited performance, stitched it all together admirably. Gaynor and Scarlett chose music that would be, as Gaynor told me in New Zealand, “proportionate to the fairy world”. Oberon dances to the Hebrides Overture of 1830 and, as Gaynor pointed out, it first appeared on the same program as the Overture to a Midsummer Night’s Dream. “It belongs,” he said. Music from the Octet in E-Flat Major – written when Mendelssohn was only 16 – is fittingly given to Puck: Mendelssohn’s sister Fanny wrote of the scherzo that “one feels so near the world of spirits, carried away in the air”.

Gaynor, by the way, was RNZB’s music director when Dream was being created; he now holds the same position with QB. The man who had been QB’s music director and principal conductor from 2013-2015, Andrew Mogrelia, is currently guest conductor at The Australian Ballet, at the helm of most of the performances of Swan Lake. Small world.

A Midsummer Night’s Dream ends in Brisbane on April 16.

A version of this review appeared in The Australian on April 4.

About last week … March 26-April 1

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.