Big dancer turnover at RNZB

Royal New Zealand Ballet artistic director Patricia Barker will preside over a significantly different group of dancers next year from those the American inherited when she was appointed to her role in June this year. Of the 36 dancers currently listed on the RNZB website, it appears that, in line with rumours doing the rounds in dance circles yesterday, perhaps half of them will not return in 2018.

Queensland Ballet announced yesterday that three RNZB dancers would join its ranks in 2018. Kohei Iwamoto comes in as a Soloist, Tonia Looker as a Company Artist and Isabella Swietlicki as a Young Artist. (RNZB is an unranked company.)

Tonia Looker and MacLean Hopper 01 photo by Stephen A'Court

Tonia Looker and MacLean Hopper in Liam Scarlett’s A Midsummer Night’s Dream, a co-production with Queensland Ballet, which Looker joins in 2018. Photo: Stephen A’Court

In response to questions about changes in the company, a spokesman for RNZB replied via email that a further three dancers had chosen to retire at the end of 2017 and another would take parental leave in 2018. “Six dancers with close ties to Europe chose to depart during the year to take up opportunities closer to home,” the spokesman wrote. “As has been the case in previous years, a small number of dancers employed by the company during 2017 have not been offered contracts for 2018.” Dancers are on annual contracts, “like most ballet companies around the world”.

If that “small number” is as many as five, the leavers would constitute half of the current crop of dancers.

In a statement, RNZB executive director Frances Turner said: “The RNZB wishes all dancers who are leaving the company at the end of 2017 every success in their future careers. We look forward to welcoming new members of the RNZB in early 2018 and will make a further announcement then.”

New ballet masters have already been announced. Married couple Nicholas Schultz and Laura McQueen Schultz will take up their roles at the beginning of January, joining Clytie Campbell, a former dancer with RNZB who was appointed ballet master by former artistic director Francesco Ventriglia. The Schultzes are currently with Grand Rapids Ballet in Michigan and will retire from dancing after that company’s upcoming production of A Christmas Carol.

Barker is currently artistic director of Grand Rapids Ballet as well as at RNZB. Grand Rapids is in the process of finding a replacement for her.

Patricia Barker, Artistic Director, The Royal New Zealand Ballet

Patricia Barker in the studio at Royal New Zealand Ballet. Photo: Stephen A’Court

The large dancer turnover will challenge RNZB’s hopes for stability after a rocky few years. Ethan Stiefel, the artistic director who preceded Ventrigilia, stayed for only three years, choosing not to renew his contract when it came due in 2014. Ventriglia left before the end of his first three-year term and there was a revolving door when it came to ballet masters in both Stiefel and Ventriglia eras.

When I interviewed Barker in August of this year, not long after her June arrival, she said she had been asked by the board to sign a five-year contract. When talking about the qualities she brought to the company, she said: “I bring a sense of settlement. I’m settled, I’m consistent, I’m passionate about this industry, I care about the organisation I work for and the people that are here and I’m experienced in my position.”

It is unclear where Barker will draw her new dancers from, although one thing is apparent. None will come from the New Zealand School of Dance, a widely admired institution which celebrated its 50th anniversary with a gala program presented at the St James Theatre, Wellington, last week.

NZ dance writer Jennifer Shennan reviewed the event on Michelle Potter’s blog … on dancing, and wrote the following: “The moment when fledglings leave the nest is always poignant. Some of these young dancers have taken instant wing and are moving straight into positions with prestigious companies—Queensland Ballet, West Australian Ballet for example. Godspeed to them. Most curiously, not one is joining Royal New Zealand Ballet (RNZB). With numerous dancers departing from RNZB this week, that raises a number of questions.”

And in a comment on Shennan’s review, New Zealand-born dance luminary Patricia Rianne wrote: “After a lifetime of supporting young NZ dancers to secure jobs and succeed in companies overseas because subsequent RNZ Ballet company directors have deemed them not good enough to join their national company, preferring to hire foreign trained dancers, I weep to hear that this practice continues.”

Rianne went on to say there was an erosion of “history, continuity, identity, and soul” in dance in New Zealand. “Shame. Sadness.”

RNZB’s spokesman said the company would make an announcement about leavers and joiners “at the beginning of 2018 when contracts have been signed”.

The Great Gatsby, West Australian Ballet

His Majesty’s Theatre, Perth, September 14.

Northern Ballet’s artistic director David Nixon is an old and highly successful hand at creating narrative ballets but he gave himself a tough assignment with this one. His 2013 dance translation of The Great Gatsby is entirely faithful to F. Scott Fitzgerald’s best novel while at the same time floating over what really lies at its heart.

Gatsby’s exterior world of frenetic parties and unattainable lovers is eminently stage-worthy and West Australian Ballet looks wonderful in Nixon’s evocation of jazz-age, Prohibition-flouting high society. The frocks are divine, the women glamorous, the men have never seemed sleeker and the 1920s dances are a delight.

Matthew Edwardson and Dancers of West Australian Ballet in The Great Gatsby. Photo by Sergey Pevnev

Matthew Edwardson (front) as Young Gatsby in The Great Gatsby. Photo: Sergey Pevnev

Far more difficult to convey are the fluttering nuances of character and shades of meaning that make the novel such an unsettling picture of a changing country with the post-war jitters.

How to express that Daisy’s voice is “full of money”, as Gatsby puts it? Or that Gatsby was once the impoverished nobody Jimmy Gatz? Or that Nick Carraway is the cousin of Gatsby’s lost love Daisy, and thus is being used by his now fabulously wealthy neighbour? (I am reminded of George Balanchine’s famous assertion that “there are no mothers-in-law in ballet”. Certain specifics of kinship are not easily conveyed wordlessly.)

Fitzgerald describes Gatsby’s fruitless pursuit of Daisy at several removes through Nick’s eyes as he looks back. In its concentration on the surface narrative the ballet loses those layers and Fitzgerald’s mood of evanescence with them, despite Nixon’s repeated flashbacks showing a young Gatsby wooing Daisy. The cartoonish depiction of Gatsby’s mob connections – men slinking about in black trench coats – doesn’t help.

The Great Gatsby nevertheless has much to enjoy, even if it’s advisable for those not steeped in the novel to take a solid look at the synopsis ahead of time.

A lively selection of 1920s-flavoured music by Richard Rodney Bennett, some taken from his film scores, accompanies lots of swiftly changing scenes. The use of a movement from his 1990 Percussion Concerto is particularly effective and Bennett’s history as a jazz pianist informs the score’s best moments. The West Australian Symphony Orchestra, with Myron Romanul at the helm, gave a zesty account of it on opening night.

Melissa Boniface and Dancers of West Australian Ballet in The Great Gatsby. Photo by Sergey Pevnev

Matthew Lehmann (rear) and Melissa Boniface (front) in The Great Gatsby. Photo: Sergey Pevnev

Above all there were terrific performances from all in the first cast, no mean feat when there are nine key characters.

Gakuro Matsui (the elegant, mysterious Gatsby), Chihiro Nomura (careless, feckless Daisy) and Oliver Edwardson (watchful Nick Carraway) were as effective as the limits of their characters allowed. Gatsby is the outsider who stands aloof at his own parties, is seen gazing wistfully across the water at the light on the end of Daisy’s jetty, or remembering his early days with Daisy. It makes him an elusive character, even when he finally gets Daisy in his arms for rapturous pas de deux in both acts. Which is as it should be from the Fitzgerald point of view, even if it makes the role a difficult one onstage.

Matthew Edwardson and Carina Roberts were fresh as the young Gatsby and Daisy while Brooke Widdison-Jacobs was superbly cast as Daisy’s golf-champion friend Jordan Baker, wielding a cool, amused demeanour and long sporty limbs.

The really juicy parts, however, are for Daisy’s unfaithful husband Tom, his lover Myrtle and Myrtle’s husband George. They get to be vividly steamy and sexy. Matthew Lehmann looked super sharp and gave Tom virile presence. He had looked out of sorts earlier in the year in Don Quixote but now seemed refreshed and renewed. Liam Green’s George was urgent with longing for his errant wife and Melissa Boniface was sensational as the passionate, doomed Myrtle. Now here was a character for a dancer to get her teeth into.

The Great Gatsby ends September 30.

A version of this review first appeared in The Australian on September 18.

Don Quixote, West Australian Ballet

His Majesty’s Theatre, Perth, May 11 and 12.

Don Quixote is all fluff and high spirits. Based glancingly on the Cervantes novel, the ballet foregrounds the romance between Kitri, an innkeeper’s daughter, and the impecunious barber Basilio. Kitri’s father would prefer her to marry money, which turns up in the form of Gamache, a fool.

Crusading knight Don Quixote bumbles upon the scene and complications ensue before everything is sorted. A fancy wedding entirely out of keeping with Kitri and Basilio’s meagre fortunes follows but what the heck. This is a rom-com, a fantasy and a chance for dancers to show off their classical chops while having fun.

Gakuro Matsui, Chihiro Nomura and dancers of West Australian Ballet in Don Quixote. Photo by Sergey Pevnev

Chihiro Nomura and Gakuro Matsui, centre, in Lucette Aldous’s production of Don Quixote for West Australian Ballet. Photo: Sergey Pevnev

West Australian Ballet’s production is a judiciously slimmed-down staging created in 2010 by Lucette Aldous, a celebrated Kitri in her day. It could be argued that bigger is better when it comes to Don Q: hordes of merry townsfolk, a substantial band of gypsies and a gorgeously attired corps in the vision scene can do much to buoy the featherweight narrative. Nevertheless, Aldous’s production is mostly effective theatrically, albeit with one big, regrettable loss. Don Quixote’s reverie, in which he sees Kitri as his beloved Dulcinea, is ruthlessly pulled back to feature only the leading characters. The scene lacks meaning and magic.

In Allan Lees’s warm design the first image is of a huge page flapping and floating in the air as if torn from a gigantic book: Don Quixote is dreaming of chivalrous deeds. Later, when the Don famously tilts at windmills, pages swirl about evocatively as the wind howls. It’s an elegant solution in a production that moves swiftly from scene to scene. After their very brief introduction Don Quixote and sidekick Sancho Panza head off on their adventures, the Don seated, endearingly, on a wine cask. Within a minute or so the main action has begun in San Sebastian’s town square.

At the first performance newly minted principal dancers Chihiro Nomura and Gakuro Matsui were sweet, charming lovers whose appeal was that of light playing on dappled leaves rather than the midday-sun swelter of the second cast Kitri and Basilio, soloists Florence Leroux-Coléno and Cuban-trained newcomer Oscar Valdés.

Gakuro Matsui and Chihiro Nomura in Don Quixote. Photo by Sergey Pevnev (5)

Chihiro Nomura and Gakuro Matsui in Don Quixote. Photo: Sergey Pevnev

Nomura and Matsui are both finely tuned classicists – and Matsui a fine partner – who made light work of the barrage of small beaten steps and flurries of manèges and pirouettes that keep the principals very busy indeed. The next night Leroux-Coléno and Valdés turned up the wattage with a knowing and vivacious account of Kitri and Basilio. True, they over-indulged themselves with the tricky one-arm lift in Act I – Valdés held Leroux-Coléno aloft, twice, for longer than I’ve seen anywhere and it was frankly just showing off, although one had to admire the chutzpah. Well, perhaps Li Cunxin, now artistic director of Queensland Ballet, held the moment just as long when appearing as Basilio for The Australian Ballet in 1999 but he was entitled – it was his farewell performance. Less would have been more for Leroux-Coléno and Valdés at that point.

At times Valdés’s dash trumped finesse but his ebullience and daring are exciting. He gets thrilling height and speed in his double saut de basque and when he danced the Lead Gypsy on opening night the temperature on stage rose dramatically.

Valdés was well matched with Leroux-Coléno, whose good humour and spark made her a witty, flavourful, memorable Kitri. It is beyond understanding why she is not a principal artist in this company.

Andre Santos was the highly enjoyable Gamache in the first performance and a high-octane Lead Gypsy the next night, tossing in an airborne cartwheel as if in answer to the “get that” 540 (a complicated air turn that comes from martial arts) with which Valdés punctuated his Lead Gypsy pyrotechnics. Santos is leaving at the end of this season after eight years with WAB to return to Brazil and will be sorely missed, particularly in light of some disappointing performances from higher ranked dancers on Thursday and Friday. The company is looking somewhat uneven.

Principal Matthew Lehmann did not appear match fit for the role of the matador Espada in the first performance. At the second, Alessio Scognamiglio heroically carried off Espada’s unforgiving pink satin outfit with oodles of the matador’s self-regarding glamour, displayed in luxurious backbends and arrogant strides about the stage. Brooke Widdison-Jacobs, also a principal artist, was miscast as the flashy street-dancer Mercedes in the second cast but at the opening demi-soloist Polly Hilton was alluring in the role. Swings and roundabouts.

Looking further down the ranks, corps de ballet member Carina Roberts continues to make her mark on the company and was a fleet, enchanting Cupid in the vision scene and the alternative Gamache, corps member Adam Alzaim, was goofily appealing. The Don is something of a dancing role in this production and both Christian Luck and Christopher Hill affectingly captured a man who still has some physical vigour while his faculties dim.

Minkus’s score may not be a masterpiece but it’s cheerful earworm material and West Australian Symphony Orchestra under the baton of Canadian guest conductor Judith Yan gave a rollicking account of it.

Don Quixote ends in Perth on May 27. Performances in Albany, June 24; Kalgoorlie, June 30; and Bunbury, July 7.

About last week … June 20-26

Sydney’s Hayes Theatre Co was the venue for another in the invaluable Neglected Musicals series (June 21). Rehearsal is minimal (a day only), there may be a sketchy set and a few props, and the actors – always very, very good – have books in hand. By some strange alchemy it always feels like a proper show. I’ve seen some beauties. Unfortunately Baby the Musical (1983) can’t be counted among them. We were told it was nominated for seven Tony awards but had the misfortune to be up against Sunday in the Park with George and La Cage aux Folles. Yes, well. I think it was kind of making up the category, as its competition included The Tap Dance Kid (I admit that’s a title entirely new to me) and Kander and Ebb’s The Rink, which did not meet with much critical favour and didn’t last a year (nor did Baby). Baby is little more than an extended skit really about three couples expecting a baby or hoping to. That’s it. Music is by David Shire, lyrics by Richard Maltby Jr and the book by Sybille Pearson. They’re not particularly scintillating except for the big women’s number I Want it All. That still works. The generous actors giving their all at the Hayes included Katrina Retallick, David Whitney (both fabulous) and the incredibly plucky Kate Maree Hoolihan who powered through a respiratory illness to keep the curtain up.

Next in Neglected Musicals (from August 3 for six performances) is Sammy Fain and Paul Francis Webster’s Calamity Jane, starring Virginia Gay. I’m absolutely up for that one.

Nederlands Dans Theater had one thing people could agree on during its brief Melbourne visit: the magnetism, authority and power of its dancers. Responses to the program (June 22) were more mixed. The evening opened and closed with works choreographed by NDT artistic director Paul Lightfoot and his associate Sol León that were long on visual glamour but rather shorter on emotional and visceral satisfaction.

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Crystal Pite’s Solo Echo. Photo: Rahi Rezvani

Sehnsucht (2009) was simultaneously overwrought and underdone. A man and a women played out a domestic drama in a small rotating box slightly elevated and set back – a kind of square tumble-drier with fixed table and chair and a window for escaping through. In front of them a solitary man emoted to Beethoven piano sonatas. In the second half a large ensemble was borne along by the majesty of Beethoven’s fifth symphony, although the connection between dance and music was tenuous. I couldn’t tell why this work in particular and not another one. One couldn’t deny, however, that Beethoven provided a thrillingly strong, familiar beat. The dancers looked marvelous, of course, although I did feel for Prince Credell, the solo man, who was forced to crouch at the front of the stage when Sehnsucht – the word suggests intense yearning – ended. The auditorium lights came up, he stayed, the audience stood about a bit and then he slowly unfurled himself.

Lightfoot/León’s Stop-Motion (2014), to music by Max Richter, had a similarly glossy air without convincing one that it meant anything other than generalised anguish. Too often the dancers stopped and posed either in arabesque or with legs held high to the side, either straight or with a bent knee. One admired the control, but admiring technical skill, particularly when invited to do so again and again, can get rather tiresome. Sehnsucht would have given the program a more striking ending but as Stop-Motion ends with quantities of flour being thrown about the stage, logistics demanded it closed the evening.

Thanks goodness for the central work (in all senses), Crystal Pite’s Solo Echo. There was a backdrop of falling snow, Brahms piano and cello sonatas, and an aching sense of need and loss. In the crepuscular light dancers swirled, slid and connected as if their lives depended on it. Breathtaking is an overused and frequently meaningless word of praise. Here it was entirely apposite. I wasn’t aware of myself, those around me, or of the need to breathe. Those dancers, that dance, that music, that experience filled every moment.

I won’t say too much about West Australian Ballet’s Genesis program (seen June 23) because I serve as a member of the company’s artistic review panel. The program gives WAB dancers a chance to develop their choreographic skills and is a vital part of the operation, as it is with Queensland Ballet’s Dance Dialogues. The Australian Ballet’s Bodytorque program seems to have disappeared, although this year two alumni, Alice Topp and Richard House, had work programmed as part of the AB’s mainstage season. At WAB just-retired principal artist Jayne Smeulders and soloist Andre Santos have made it to the mainstage via earlier workshops.

You will note I name two women, which is cause for rejoicing. One of the hot topics of conversation in classical dance is the scarcity – it’s close to complete absence – of female choreographers, although Crystal Pite is breaking through, as she deserves to. At WAB this year a gratifying number of women were represented: Polly Hilton, Florence Leroux-Coléno and Melissa Boniface stepped up to the plate alongside Santos, Christopher Hill, Adam Alzaim and Alessio Scognamiglio.

At the end of this year WAB stages a new Nutcracker co-choreographed by Smeulders, WAB artistic director Aurélien Scannella and ballet mistress Sandy Delasalle.

 

New work at Queensland Ballet

Dance Dialogues, Brisbane, February 20.

Classical ballet is the oddest thing. It has a tiny core repertoire – fewer than 20 works; perhaps less than 15 if you’re being very strict – that define it to the world at large. These are the full-length story ballets that audiences will reliably attend year after year and provide the images that immediately register as ballet: tutus and toe shoes; princely men looking ardent as they support their lady.

Ballet companies revisit these works again and again, with small tweaks or wholesale revisions, new sets and costumes and, crucially, new generations of dancers to make the classics their own.

That can make ballet seem stuck in a loop but there’s an upside too. With the list of popular ballets so brief, companies constantly need contemporary repertoire to balance their annual programs. Why there are so few new story ballets claiming a lasting place alongside Swan Lake, The Sleeping Beauty, Giselle, The Nutcracker and a handful of other ballets is a perennial, fascinating question -Christopher Wheeldon’s The Winter’s Tale, made in 2014 for The Royal Ballet and National Ballet of Canada looks very like a ballet other companies will want to get their hands on but there aren’t too many others. Meanwhile, the creation of one-act contemporary works proceeds apace and there is a substantial 20th and 21st century repertoire to call upon.

The one-act ballet is also a good place for young choreographers to start, and most companies have a program to encourage their dancers to try their hand. The Australian Ballet’s longstanding Bodytorque series has withered somewhat, being reduced last year to a few performances of a work following a mainstage production (Bodytorque Up Late), but West Australian Ballet’s Genesis and Queensland Ballet’s Dance Dialogues are still cemented into their seasons.

Queensland Ballet's Alex Idaszak and Georgia Swan in Jack Lister's Fonder Heart. Photo David Kelly 2016

Georgia Swan, Alexander Idaszak in Jack Lister’s Fonder Heart. Photo: David Kelly

I wrote recently about WAB’s Ballet at the Quarry, in which a work by company soloist Andre Santos, In Black, first seen at Genesis in 2014, was expanded for the Quarry, deservedly giving it a substantial audience.

A few days ago I went to Brisbane for Dance Dialogues to see a new work, Fonder Heart, by company dancer Jack Lister, a 22-year-old who has made a few small pieces as well as one for last year’s Dance Dialogues, Memory House, which I now wish I had been able to see. He is a remarkably confident dance-maker, even if at this point he hasn’t developed a strongly individual voice. The spirit and choreographic language of Jiří Kylián are very evident and Lister is not backward in acknowledging the Czech master as an influence. He certainly isn’t alone there.

Lister’s achievement was nevertheless satisfying and heartening. It is no small thing to make a work of about 16 minutes that one wishes would last longer. He made decisions that in a relative beginner are evidence of clear thinking, starting with his choice of music – the second movement of Philip Glass’s Tirol Concerto for Piano and Orchestra (2000). A small string orchestra establishes a sweet, slightly melancholy melody, soon picked up by the piano and given an individual voice as the soloist at first picks out the tune gently, then embroiders with changing patterns and dynamic shifts. The atmosphere is dreamy and the music very Glass-y: strongly rhythmic and unfailingly melodic. (It’s why choreographers are attracted to his work, and indeed two of my favourite 20th century dances are to Glass scores – Twyla Tharp’s In the Upper Room and Jerome Robbins’s Glass Pieces. The momentum is irresistible.)

Lister heard in this music the sound of couples joining, parting and perhaps reconnecting – or not – and created a work for three couples. There’s no budget to speak of for these ventures, of course, but Lister managed to persuade QB to let him have a long table that becomes a seventh actor in the piece as it was moved to and fro, providing a place to sit, to walk on, to be lifted from or supported by. Fonder Heart is abstract but works well with the music to evoke states of mind. It is sleek, sophisticated and intriguing.

Queensland Ballet's Vito Bernasconi and Eleanor Freeman in Jack Lister's Fonder Heart 2016. David Kelly 5

Eleanor Freeman and Vito Bernasconi in Fonder Heart. Photo: David Kelly

Lister understands the power of stillness and separation and has a good grasp of structure. Three couples were woven in and out of the dance with assurance and the viewer’s eye was unerringly focused where it should be. The dance itself was strong, fluid and assertive with formidable partnering and a particularly vivid role for Eleanor Freeman, who was a dramatic presence. At the performance I saw Freeman danced with Vito Bernasconi, Lina Kim with Joel Woellner and Georgia Swan and Alexander Idaszak, and all looked passionately engaged with the work.

So, good news at both QB and WAB, with promising emerging choreographers on their books. As always, however, there seem to be fewer young women putting up their hands to have a go at making new work, although it’s pleasing to see that WAB has works from principal artist Jayne Smeulders in the repertoire and the Quarry season had a group work made mainly by women. It’s a start.

Thrills and spills: the year in dance

We’ll get to the year’s most interesting work and dancers shortly but 2015 was also notable for offstage developments, particularly at Australia’s three leading classical companies, The Australian Ballet, Queensland Ballet and West Australian Ballet. So let’s begin there.

OFFSTAGE

The national company

At The Australian Ballet, David McAllister became the company’s longest-serving artistic director, surpassing Maina Gielgud’s 14-year reign. McAllister took over in July 2001 after the relatively brief tenure of Ross Stretton, who cut his time at the AB short to go to the Royal Ballet in London. McAllister was named to the post while he was still dancing, although retirement followed swiftly. It was a huge leap of faith on the part of the AB board as he had had no leadership experience but it is now emphatically his company. Of the AB’s current roster of 68 dancers, only two were members of the company before 2001 and two joined in 2001.

In another big first, this year McAllister put himself forward to stage a new production of The Sleeping Beauty. He had previously staged only a handful of minor pieces. The production is thought to have cost about $2 million and in a dazzling feat of fundraising, about 70 per cent came from 2000 or so ballet-lovers giving sums ranging from $100 to $50,000 or more. Audiences flocked to it, several dancers in Sydney were given career-changing opportunities and despite reservations from some critics (including me) about some aspects of the production, it must be counted a significant success for McAllister and The Australian Ballet.

McAllister shows absolutely no sign of becoming jaded and it wouldn’t surprise one to see him celebrate his 20th anniversary in the job in 2021.

The state companies

Queensland Ballet was the real surprise package of the year from a backstage perspective, making the position of its high-profile CEO Anna Marsden redundant. The announcement was made on July 9 and was supposed to take effect from September 1 but Marsden was quickly out of the picture. On July 29 QB’s chair, Brett Clark, said in a statement the company would appoint an executive director, whose role would be to enable the vision of artistic director Li Cunxin and drive operations.  Dilshani Weerasinghe, previously the company’s development director, was announced as acting executive director but she was soon the board’s permanent choice.

I spoke at length to Clark in early December about the move, very shortly after the company’s announcement that the Queensland Government would give QB an extra $1.2 million annually (bringing its contribution to $2.7 million annually) to support an increase in dancer numbers (an additional eight by 2020), expansion of its headquarters, increased international touring and a greater number of performances. In 2016 QB will have 31 company members and seven young artists.

The announcement by Queensland Premier Annastacia Palaszczuk also contained news of a $5 million gift from the Melbourne-based Ian Potter Foundation, earmarked for improvements to the company’s facilities at the Thomas Dixon Centre in Brisbane’s West End.

Clark said negotiations regarding both announcements had been “a long work in progress”. He said specific goals were for QB to be seen as a “powerhouse in the Asia-Pacific region” and to perform more frequently in regional Queensland. Touring to Sydney and Melbourne was not on the cards. “I think the AB services Sydney and Melbourne extremely well. They’re an amazing company.”

Clark declined to speak about the working relationship between Li and Marsden. He said, however, it had become “apparent that for us to get agreed goals and visions, it needed to be an artistic director-led strategy”. He said an executive director can have input into strategy and vision but the core role is to support the board and the company, “and in the case of Queensland Ballet, the artistic director on his or her vision for the company”. He also said that “Dilshani reports through Li to the board”.

Clark acknowledged Marsden’s role in QB’s rapid growth since Li became artistic director in 2011. He also said: “We needed Li’s vision and strategy leading the way forward.”

Clark would not discuss what went on behind the scenes but the implication is clear. Although Marsden was a key player in QB’s revival of fortunes following the departure of previous artistic director François Klaus, a structure in which both CEO and artistic director reported to the board created tension. The board chose Li.

I approached Marsden but she did not wish to comment.

West Australian Ballet will also be under new management next year following the announcement on December 14 that its CEO, Steven Roth, will be leaving in February to work with Scottish Ballet. Roth joined WAB in 2007 when the company had 19 very unhappy dancers who were agitating for the right to strike over their pay and conditions. (Their accommodation in His Majesty’s Theatre, where the company mainly performs, was limited to one studio and cramped production and administration space.) The dancers prevailed: the West Australian Government upped its funding and WAB now has 32 company members and eight young artists. One of the great achievements of Roth’s tenure can be seen in WAB’s gleaming State Ballet Centre in the Perth suburb of Maylands; another is the increase in the company’s operating revenue from $3.2 million in 2007 to $10 million in 2015.

Interestingly, Roth goes to Glasgow-based Scottish Ballet, the country’s national company, as executive director. That company already has a CEO – Christopher Hampson, who is also the company’s artistic director. He added CEO duties earlier this year after the sudden departure of chief executive Cindy Sughrue. In June Scotland’s Herald newspaper reported: “Scottish Ballet will now also begin a search for an executive director who will sit on the national company’s board and report to Hampson, with a remit for ‘clear focus on strategic vision and commercial success’.”

The Herald also reported Scottish Ballet’s chairman, Norman Murray, as saying “the board had undertaken a review of how the company was run, with aid from consultants, and believed it should be ‘artistically led’.”

ONSTAGE – CLASSICAL AND CONTEMPORARY

There are, I admit, a lot of gaps: no 2015 Melbourne Festival, no 2015 Adelaide Festival, no 2015 Dance Massive (Melbourne), although I had already seen one or two things on that program. I mention this because I travelled a fair bit in 2015 but not to everywhere or everything. My list doesn’t leave these things out because there was nothing of note, but because I wasn’t there. Adelaide would have been my big chance to see – at long last – Cedar Lake Contemporary Ballet but that is now impossible. Cedar Lake’s financial backer closed the company not long after Adelaide. At Melbourne I could have caught up with the latest work from Batsheva, which I’ve seen regularly at Australian arts festivals, but no.

And a work that I reviewed reasonably strictly on first seeing it makes the list for its daring and its dancers. While I have issues with some of the dramaturgy in The Australian Ballet’s new Sleeping Beauty it is nevertheless a considerable achievement that provided three artists with role debuts that saw each immediately promoted to the next rank.

The productions are in the order in which I saw them and the performers in alphabetical order. The list is heavily skewed towards ballet because that’s the way the year panned out for me.

The best of the best? A Sleeping Beauty double: Alexei Ratmansky’s back-to-Petipa production for American Ballet Theatre and La Scala; and Benedicte Bemet’s dazzling debut as Aurora for The Australian Ballet.

PRODUCTIONS

Nothing to Lose, Force Majeure, Sydney Festival, January

Force Majeure founder Kate Champion has now moved on, leaving the company in new hands. Nothing to Lose, made with activist Kelli Jean Drinkwater, was a great farewell piece. It put the following propositions on stage: that fat people should not hide away, that they should be heard, that they are entitled to make choices, that they may actually like the way they are, and, by god, they can and will dance.

Puncture, Legs on the Wall, FORM Dance Projects, Sydney Philharmonia Choirs, Sydney Festival, January

Puncture started with “Hello” and ended with “I love you”. Is there anything more life-affirming? Six couples collided, grappled, touched, fought, flew, supported, changed partners, argued and loved. Choreographer Kathryn Puie evoked the formalities of Elizabethan court dance, the uniformity of line dancing, the romance of the waltz, the zing of the tango, the group spirit of folk and much more, but ultimately the dance was about body against body, skin against skin; sometimes restrained, sometimes tender, sometimes wild.

Mozart Dances, Mark Morris Dance Group, Perth International Arts Festival, February

In this seemingly carefree work Morris offered principles of profound beauty, not in a didactic way but with simplicity and grace. In Mozart Dances men and women were equal, each was an individual, there was strength to be gained from one another and there was belief in the power of love and joy.

Quintett, Sydney Dance Company, Sydney, March

The first cast was more balletic, the second more ferocious in this thrilling, heart-catching William Forsythe work. Not many companies are allowed to do it; Sydney Dance Company did it proud.

Sydney Dance Company's Quintett featuring Chloe Leong and David Mack 1. Photo by Peter Greig

Chloe Leong and David Mack in Quintett. Photo: Peter Greig

The Sleeping Beauty, American Ballet Theatre, New York, May

Alexei Ratmansky’s production took us as nearly as possible back to what the original 1890 audience would have seen: super-lavish setting, strong mime and many intimate, modest details. The physicality looked startlingly different. Instead of height and bravura there was refinement and great charm. For both men and women there was a great deal of petit allegro; low, laser-sharp, extremely swift footwork that sparkled. It was as virtuosic, or more so, than today’s emphatic gestures and much more intricate and sophisticated.

A Midsummer Night’s Dream, choreographed by Liam Scarlett, Royal New Zealand Ballet, Auckland, September

What a gorgeous production! Designed by New Zealander Tracy Grant Lord and choreographed by hotter-than-hot Brit Liam Scarlett, this co-pro between Royal New Zealand Ballet and Queensland Ballet was funny, sexy and ravishing to behold. Brisbane sees it in April.

Hayley Donnison as a fairy credit Stephen A'Court

Hayley Dennison in Liam Scarlett’s A Midsummer Night’s Dream for Royal New Zealand Ballet. Photo: Stephen A’Court

The Sleeping Beauty, The Australian Ballet, Melbourne and Sydney, September and December

Gabriela Tylesova’s design, which drank deeply of Baroque and rococo influences, was almost absurdly beautiful. Tylesova revelled in saturated colours, flounces upon ruffles, embellishments, beads, crystals and feathers. There were columns, chandeliers and romantic vistas. She created an eye-filling, mouth-watering fantasy world that threw out a huge challenge to David McAllister: match this if you can, buddy. Well, he asked for it. There have been a few rumblings about the design being oppressively opulent but this greatest of ballet scores can bear the weight. It invites and deserves a magnificent mise en scène. It also requires storytelling that can fill the space and amplify the music. It’s in the latter sphere that Beauty doesn’t fully succeed despite the involvement of Lucas Jervies, a choreographer and director working as McAllister’s sounding board and adviser. It was extremely cheering, though, to see many very fine performances through the ranks and exciting role debuts (see below).

Ochres, Bangarra Dance Theatre, Sydney, November

It was a joy to see Ochres revived at Carriageworks with a dynamic new generation of dancers. Not that it was exactly the work originally choreographed by Stephen Page and Bernadette Walong-Sene, nor should it be. Dance texts are particularly susceptible to change and Bangarra has developed greatly since the early 1990s. This revival was in the spirit of the original rather than a faithful dusting off of the old steps. The company called it a re-imagining and it looked wonderful. Bangarra has a unique aesthetic based on the connection with Indigenous ceremony and the land. It’s extraordinarily beautiful and invigorating.

Cinderella, choreographed by Jayne Smeulders, West Australian Ballet, Perth, December

How many full-length, mainstage classical ballets choreographed by women were there on Australian stages this year? Just the one I think, Jayne Smeulders’s Cinderella. She reworked her 2011 production to advantage and scored a huge hit with Perth audiences. See: it can be done.

Coppélia, choreographed by Maina Gielgud for Christine Walsh’s Australian Conservatoire of Ballet, Melbourne, December

There was quite a lot of new choreography and loads of rearranging but basically Gielgud’s production was a staging rather than a new work. But what a beauty. It was hard to believe this was a student production, so high were its standards. The young dancers were not just technically assured, they gave terrifically engaged and engaging performances, working seamlessly with the delightful guest artists from Tokyo Ballet, Maria Kawatani and Arata Miyagawa. Christine Walsh designed the many costumes, all of them splendid.

PERFORMANCES

Stella Abrera, Giselle, American Ballet Theatre, New York, May

Abrera’s warmth and simplicity informed every moment of her performance; there wasn’t a thing that didn’t feel genuine. The mad scene tore at the heart. As she loses her reason Giselle re-enacts the plucking of flower petals, which earlier had quieted her anxiety about Albrecht – he loves me, he loves me not, he loves me. Now there was no anticipation or light. Abrera shook her head piteously. He doesn’t love me. (Abrera was at that time an ABT soloist; she was promoted to principal – very belatedly in the opinion of many – at the end of June.)

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Veronica Part, Stella Abrera and Vladimir Shklyarov in Giselle. Photo: MIRA

Benedicte Bemet, debut as Aurora, The Australian Ballet, Sydney, December

Quite simply one of the most exciting nights in the theatre, ever. Bemet, just 21, had the dew and radiance of youth, purity and joy in her dancing and was beyond fearless. You know how you almost always get butterflies when Aurora nears those balances and promenades in the Rose Adagio? Not so here. Bemet was absolutely in the moment and so was her audience. The balances were extraordinary, the crowd went wild, and Bemet just went from strength to strength. She went on as a coryphée and shortly afterwards was promoted to soloist. To be honest, it wouldn’t have surprised me if David McAllister had bounded on to the stage to make her a principal artist on the spot. But she has plenty of time for that.

Brett Chynoweth, Puck in The Dream, debut as Prince Désiré, The Australian Ballet, Sydney, May and December

Chynoweth is one of The Australian Ballet’s finest male technicians – he is fast, sleek, has fabulous feet and exciting elevation. This, however, is not what makes him so interesting. He is a passionate, poetic man who connects deeply with his roles and therefore with the audience. As Désiré his longing for love was palpable, and earlier in the year his Puck was a marvel of pyrotechnics and other-worldly humour. He is now, rightfully, a senior artist.

Chynoweth Boud

Brett Chenoweth as Puck in The Dream. Photo: Daniel Boud

Alina Cojocaru, Aurora, Queensland Ballet, Brisbane, October

She radiated light and joy from a tiny body that gave the impression not only of being buoyed by the music but indivisible from it. Her dancing was brilliant, each moment etched with great precision, yet everything felt as if it were the inspiration of that moment. Most potent of all was her warm generosity, seen in abundant, open-hearted gestures and an intense gaze that encompassed the entire theatre.

Thaji Dias, Dancing for the Gods, Chitrasena Dance Company, Sydney Festival, January

I got my first, and so far only, view of Thaji Dias during this year’s Sydney Festival. She is a ravishing artist, dancing in the Kandyan style from Sri Lanka with megawatts of charisma. The dance was dramatic and seductive and Dias’s command of it exhilarating with her divinely articulated wrists, rippling shoulders, jaunty strides, the deepest and plushest plies and the liveliest eyes.

Sylvie Guillem, Life in Progress, Sydney, August

At 50 Guillem left the stage on her own terms with an intensely personal program that showed her as a peerless exponent of works by some of contemporary ballet’s biggest names. Not for Guillem a nostalgic look back to her storied classical career. She was known as the most daring, searching and original ballerina of her generation, one whose astounding physical gifts and ferocious individuality were a game-changer in the art. But that was then. Her farewell program celebrated Guillem in the here and now, with new and recent work.

Robyn Hendricks, debut in Symphonic Variations, debut as Aurora, The Australian Ballet, Sydney, April and December

Hendricks is something of a late bloomer but no less valuable for that. Her willowy body gives her a regal air and she also seems a little unknowable, qualities that of course make one intensely aware of her. She looked serenely beautiful in the first cast of Symphonic Variations; as Aurora she was a queen in the making: watchful, elegant, sophisticated and lusciously aware of her suitors. She was promoted to senior artist immediately after her debut.

The Dream - Symphonic Variations

Aka Kondo, Cristiano Martino, Robyn Hendricks and Amber Scott in Symphonic Variations. Photo: Daniel Boud

Xavier Le Roy, Self Untitled, Carriageworks, Sydney, November

Xavier Le Roy’s 1998 solo Self Unfinished had particular resonance at the time of viewing, days after the terrorist attacks on Paris, summoning thoughts of the fragility of life, the resilience of the human spirit, the truth that we exist only at this moment, right now, and that we are all in it together. He didn’t make a big thing of it, but Le Roy’s piece had a strong sense of erasing the invisible barrier between audience and performer. He intrigued, delighted and provoked during a performance of quite intimacy.

Natalia Osipova/Steven McRae, Giselle, American Ballet Theatre, New York, May

Osipova’s Giselle had London aflame last year and this year had the New York audience entranced and exhilarated. She tore through the ballet with a passion, leaping higher, turning more quickly and covering ground more voraciously than any other. Osipova is a risk-taking dancer. She fell heavily towards the end of her final solo and took several agonising seconds to recover enough to stand. She limped back to the centre and resumed dancing, finishing the ballet not only courageously but with melting beauty. The clarity and complexity of McRae’s acting was wonderful. He gave not just the broad picture but made every moment vivid, fresh, illuminating and dramatically coherent. His dancing, it goes without saying, was full of brilliance without being bombastic. But there was no more riveting moment than one of complete stillness, when Albrecht heard the distant horns of the Royal hunting party and understood the chaos to come.

CHOREOGRAPHY

Kristina Chan, Conform, Sydney Dance Company, Sydney, December

“I am interested in what it means to be a man in this modern day,” Chan wrote in the program note to Conform, part of the annual New Breed program. She has a sombre view. When we first saw her men – there was an all-male cast of eight – they visibly buckled under the weight of expectation. They were either desperately alone with their thoughts or they fell in with the majority, losing individuality but absorbing the power of the pack. Conform was beautifully structured, vibrated with repressed emotion and had a very strong, pulsating and often ominous score by James Brown. It should be a keeper.

Justin Peck, Rōdē,ō, New York City Ballet, May

We haven’t seen a step of Peck’s in Australia as far as I know and it’s about time someone did something about it. His Rōdē,ō: Four Dance Episodes, to the music of Aaron Copland, is wondrous. (Don’t ask me about the odd accents in the title; perhaps Peck wanted to differentiate it from Agnes de Mille’s 1942 Rodeo, to this music.) A piece for 15 men and one fabulous woman, it surprises, invigorates and enchants at every turn. Peck, still dancing as a soloist with New York City Ballet, has the magic touch. This apparently abstract ballet is packed with ideas, relationships and really zingy choreography. NYCB probably doesn’t want to let it go just yet because it premiered only in February this year, but can someone please beg?

Quintett, Frame of Mind

Sydney Theatre, March 9 and 10.

IT was a great coup for Rafael Bonachela to secure William Forsythe’s Quintett for Sydney Dance Company. It is a jewel of the contemporary repertoire with so many facets and colours it could be seen again and again without exhausting its possibilities.

And to see it danced as was on its opening night night – well, Sydney is blessed. Quintett is incredibly demanding technically but its first cast of Chloe Leong, Jesse Scales, David Mack, Cass Mortimer Eipper and Sam Young-Wright made only radiance visible.

Chloe Leong and David Mack in Quintett. Photo: Peter Greig

Chloe Leong and David Mack in Quintett. Photo: Peter Greig

Forsythe created Quintett in 1993 as his young wife, Tracy-Kai Maier, was dying. It’s not, however, a work shrouded in sorrow, nor does it shake its fist at death despite flashes of anger. Quintett vibrates with life and with qualities that imply continuance: endurance, resilience, consolation.

Relationships between the three men and two women are in constant flux, as is the movement language: wherever there is an odd number there is an inbuilt level of anticipation, surprise and often tension. Crawling, falling, flailing, distorting, watching, leaving and arriving are all part of the physical mix but Quintett also repeatedly returns to the beautiful formalities and certainties of ballet. There are fixed points of visual order as Forsythe challenges the possibilities of what the body can do in dance.

Order is also imposed gently but rigorously by the score, Gavin Bryars’s Jesus’ Blood Never Failed Me Yet, in which the looped voice of an old man singing phrases of a hymn could conceivably play until the stars turn cold. A 26-second fragment is played repeatedly, first unaccompanied and then with quietly growing and changing orchestral support that flows and lulls serenely, never presuming to swamp the slightly tremulous and hesitant vocal line. As the few words are heard again and again, one becomes aware of the halts, where the breath is taken, the tiny stress on the word “yet”, and so on. There is so much in apparently so little.

Bryars came across the man, a tramp, in 1971. His name is unknown and he died not long after but in Jesus’ Blood there remains for all time his unfailing optimism. In this way he lives on.

As the curtain falls a woman tries to leave the stage but is several times prevented, gently pushed back into the fading light. Her dance will continue whether there is anyone to see it or not. She too lives on in the glow of memory.

Speaking of memory, some may recall another use in dance of Jesus’ Blood. Maguy Marin’s 1981 work May B also uses Bryars’s first version of the work (the initial 26-minute arrangement was later expanded into a version lasting three times that length and includes Tom Waits vocals entering near the end). May B was presented at the 1992 Adelaide Festival and then had a Sydney season and is a work performed to this day.

In the first SDC Quintett cast the balletic qualities of the performers gave their lines brilliant clarity. It’s worth mentioning that David Mack and Cass Mortimer Eipper are both former members of West Australian Ballet. Sam Young-Wright – exceptionally tall with an arabesque that goes on forever – was perhaps an unexpected member of the first cast as he was plucked from Sydney Dance Company’s first Pre-Professional Year group to join the company only this year. He looked wonderful, as did ethereal Chloe Leong (also a new company member) and tiny but magisterial Jesse Scales.

The next night’s Quintett cast had a rougher, more ferocious quality. Some of the edges of the lines were blurred but the emotional stakes were incredibly high. Richard Cilli, recently returned to SDC after some time in Europe, looked quite anarchic in places and Juliette Barton was incredible, dancing with burning fervour. Janessa Dufty was a relatively late replacement for the injured Charmene Yap but fitted into this cast seamlessly. Bernhard Knauer and Todd Sutherland completed this wonderful group

Quintett is followed by a new full-company work by Bonachela, Frame of Mind, choreographed to thrillingly muscular music written by Bryce Dessner for the Kronos Quartet (heard here in recording).

Sydney Dance Company in Frame of Mind. Photo: Peter Grieg

Sydney Dance Company in Frame of Mind. Photo: Peter Grieg

Bonachela has described himself as a movement junkie and this taste frequently leads him to include more steps per bar of music than are strictly necessary. One can feel over-stimulated or over-satiated – or, as in Frame of Mind, there are times when dance and score are in competition with one another so that attention is split rather than focused. Nevertheless, Frame of Mind fruitfully reaches for intimate moods and stage pictures that imply characters and narratives to a degree unusual in Bonachela’s work.

An intriguing atmosphere is created by Ralph Myers’s evocative set – mottled, angled walls against which dancers lounge broodingly. Myers of course, as well as being a set designer, is artistic director of Belvoir and once again one has to salute Bonachela for the connections he has made and continues to make in Sydney’s cultural life. His eagerness to collaborate widely has been one of the defining characteristics of his time at SDC and has brought the company great riches.

The large window (with wide sill) in one of the walls is perhaps a rather obvious metaphor for a frame of mind, but it looks very beautiful with Benjamin Cisterne’s lighting shining through and provides a contemplative perch for dancers in quieter moments.

Bonachela has his dancers surge and retreat in a multiplicity of combinations and there is a terrific frisson when the 16 men and women coalesce on several occasions into hard-core unison – yes, that may be an oldie but it’s still a goodie.

Several times during Frame of Mind there were fleeting traces of Quintett in one or two balletic shapes and stuttering bodies, or at least that’s what it seemed to me. They implied a spirit of homage to Forsythe and while I’m not sure if they were intended, or if I am reading too much into them, they felt absolutely right.

Frame of Mind ends in Sydney on March 21. Canberra, April 30-May 2; Melbourne, May 6-16.

A version of this review appeared in The Australian on March 11.