"Symphony In C", Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday August 20th 2017
"Symphony In C", Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday August 20th 2017
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
In The Australian Ballet's annual subscription brochure this programme was advertised as "Symphony in C" plus two new one act ballets by Richard House and Alice Topp. When I read that instead of the traditional triple-bill it was to be truncated into one act of five short works, including the two new works by Richard House and Alice Topp, I was not happy. I wanted to see fully completed one act works by these two choreographers.
Gladly I can say that the night was worth it. I can understand why the extra three short works were added to act one. The two new works by these young choreographers were long enough to show their work and I did not feel cheated by the length of their works. It is better to have quality than quantity.
Congratulations to the Arts Centre for the pre-show announcement with a slightly different message. The gentleman informed the audience that there were five short works in Act One and requested that patrons please not turn on mobile phones and other devices in between. People of course still turned them on, and one Stalls' usher shone her light to tell them to turn off their device. Good on the usher for being so vigilant. The view from the Dress Circle at times is like watching a Christmas tree light up with the rude patrons switching on their "Fear-of-missing-out" devices!
"From Silence" choreographed by Richard House opened the evening with audible gasps of appreciation from the audience. The raising of the red curtain revealed the most sumptuously long red train hanging from the back of a Amanda McGuigan. It was such a breathtaking opening. Then when she was raised into the air there were more audible gasps of surprise as he had been hiding under the long red train. The dancing was fine and will become more secure with more performances. The four dancers did Richard House proud and with more confidence will relish in the beautifully constructed pas de deuxs. Some of the lifts are tricky and with a new work the dancers need time to be in their "skin". The first couple were juxtaposed with a second couple who wore costumes to counterbalance the odd splash of red. Each dancer wore red in a different part of their costume and this is so in keeping with the theme of silence. You never know where stillness or silence can appear. The same with the slight red splash - we had to seek it out.
Costumes and Set Design by Kat Chan could have overpowered the work and added to what is hidden beneath the surface of any situation. The union between dance and costumes paid homage to the iconic Alwin Nikolais.
"The Grand Pas Classique" choreographed after Viktor Bsovksky was brilliantly danced by Lana Jones and Brodie James. Lana Jones, who has recently returned from maternity leave, danced with impeccable precision and accurate footwork that was like tatting a delicate lace table cloth. I have rarely seen such precision in my fifty plus years of seeing ballet. My heart was racing with the excitement and accuracy that this fine couple displayed. She was sharp and he was a fine bravura partner to show off his virtuosity. Lana Jones displayed the most incredible finesse with epaulement and captured so nuanced movement qualities. I was gasping and trying to remember the list of movement qualities that I witnessed. One word: WOW. Note the capital letters. Repeat: WOW!
Oh by the way, I forgot to mention that I have not seen Lana Jones dance so well before.
"Pas De Trois From Imaginary Masque" choreographed by Stephen Baynes and costume design by Michael Pearce begins with the two, topless, athletic men on the floor. The back cloth shimmers and reveals an exotic lady, Rina Nemoto. Joseph Chapman and Cristiano Martino are strong and robust in this beautiful opening sequence. They support Rina Nemoto in many complex sequences in a considered and fluid manner. There is not a hint of doubt these men will honour this beauty as if a piece of fine porcelain. This pas de trois teased me wanting to see more.
"Little Atlas" choreographed and with costumes designed by Alice Topp. A large lit ring rose, angled and finally lowered to capture Leanne Stojmenov as if a prisoner of her own environment. This was easily the best ballet so far and what competition had preceded this new piece. There was a large curved beam upstage that also acted as a spacial divide between universes.
"Diana and Acteon Pas De Deux" concluded the first act of mixed works. This pas de deux choreographed after Agrippina Vaganova and Joseph Mazilier was danced by guest artist Gillian Murphy and Ty King-Wall. The audience laughed at his entrance as he wore a Grecian style tunic that was very camp and ridiculous. His dancing and bravado made up for the historic and hysterical costume with his clean, sharp and polished technique. He displayed strong lines and crisp finishes to his sequences. Gillian Murphy's angled her right wrist and poked her chin forward that detracted from her lines. I do not know if this is choreographed but it looked corny. "Diana and Acteon Pas De Deux" was my least favourite ballet for the first half of the programme.
After interval "Symphony In C" choreographed by George Balanchine begins with an opening tableau that received appreciative applause from the audience.
As an aside, remember the name Katherine Sonnekus as her photo did not appear in the programme. Is she a new recruit, a contractor, a dancer on exchange with another company or from the Australian Ballet School? Who ever she is, she did not stand out but blended in with the style of the company. I am so curious and look forward to seeing more of Katherine Sonnekus dancing with the company.
Leanne Strojmenov was in top form with Guest Artist David Hallberg in the first movement. They shone as a partnership with his assured support and his dynamic and explosive sautes. He is as light as a feather and suspends in space with his ballon. His batterie is sharp and precise.
The second movement showcased the return of Lana Jones and this time partnered by Ty King-Wall. They make a great duo and I look forward seeing them teaming up together again in the future.
The third movement saw Ako Kondo partnered by Chengwu Guo in another powerhorse pas de deux.
The third movement pas de deux was danced beautifully by Jade Wood and ANdrew Killian.
The corps de ballet framed the ballet with their neat spacing and accurate port de bras. It is such a delight to see the dancers coached to display a consistent wrist shape. One dancer on stage left in the opening sequence was so fragile that her port de bras required effort.
Overall the dancers were in top form and redeemed themselves with a great night of dancing.
Overall this performance obtained a 7.5/10.
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