The Sleeping Beauty, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday June 21st 2017

The Sleeping Beauty, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday June 21st 2017

"The Sleeping Beauty" - A production by David McAllister was presented by The Australian Ballet, at the State Theatre, Arts Centre Melbourne on Wednesday June 21st 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 a word this performance was AWFUL!

I have seen this new version of "The Sleeping Beauty" by David McAllister when it was first presented and still think it is the best version of this story ballet.  Sadly the cast were under-rehearsed, tired and walking through their performances.

This was the worst performance by The Australian Ballet I have ever seen.

The fairies in Act One all had faults in their solos.  I will not be writing names as everyone can have a bad day.  One dancer had incomplete extensions, another floppy feet, an awkward pas de chat that was squashed and nearly crashed into a couple on stage left.  The costumes looked pretty!

The wrist lines were wrong for about four females during the garland waltz whilst wearing the blue and lemon costumes.

The patterns and lines were messy at times.

Act One when the baby is carried on needs refinement.  It looked as if a doll was being thrown around in a very pedestrian fashion.  There was no sense of fragility in baby handling skills by all who held the baby.

The crib entrance is still clunky and should be on a truck or wheels, or on one side of the stage.

During Act Two we witnessed a pointe shoe coming undone.  This was elegantly attended to as the young lady gracefully re-tied her shoe whilst sitting on her partner's knee.  This was a highlight and over rated the quality of the dancing!  Yes - it out performed the majority of the dancing.

The Usher in the stalls (stage left region) was monitoring our dreaded woman who persists on turning her phone during every ballet performance.  Congratulations to this Arts Centre Melbourne  usher for her diligence as the light from the phone is so distracting.

Some of the miming needs refining and reworking.  There is an over use of the port de bras to second gesture that is used to mean so many different things.  There could be more clarity with the gestures.

The Act Three Bluebird pas de deux had an incomplete presage lift.  I can understand this is a difficult lift and timing is paramount to its success.  Sadly this pas de deux looked under rehearsed.  Again, these usually sensational dancers had an off night.  Do not whip yourselves.  Yes I am calling what I saw - but you are both sensational dancers and I look forward to your next performance.  You redeem yourself by getting back on your feet.

Amy Harris as Princess Aurora with Andrew Killian as Prince Desire danced adequately but were not on fire. Amy Harris  did not look secure in her balances.  One of her pirouettes had to be completed as she got stuck facing her partner Andrew Killian.  His solo was too slow and laboured, that made him so grounded rather than elevated.  This fine duo was good but not their usual brilliance.  Again do not whip yourselves as I think Carabose had cursed this performance.

In Act Three one of the female guests fainted on stage and about three cast carried her off stage right. This created a buzz on stage where the concentration levels peaked.  Sadly this young lady's misfortune created the best part of the ballet as the corps de ballet lifted their game with concentration, alertness and team work.

I was so impressed with this section as a couple on stage left from the corps de ballet left the stage to compensate for even patterns.  Watching the corps de ballet chat among themselves to reconfigure and adjust positions was priceless.  I am in awe of this group of dancers who did not allow this to destroy the show.  BRAVO to you all for such camaraderie.  Yes the final circle was incomplete - but who cares when you had the dancers really trying the hardest to make this scene work.

I think the whole night was a "Comedy of Errors" and each error compounded the next.

The Australian Ballet, at the State Theatre, on Wednesday June 21st 2017

In summary the dancing was ordinary, 

Overall I gave this performance a 6.5/10.

Imperial Suite and Suite En Blanc June 25 2014.

Imperial Suite and Suite En Blanc

State Theatre, Victorian Arts Centre, Melbourne,  Wednesday June 25 2014.

This classical double bill by The Australian Ballet of "ImperialSuite" and "Suite En Blanc" was superb.  Both are not my favourite ballets, though I must give credit where it is due.  They were superbly danced, to the extent I say the best I have seen them performed by this company.

"Imperial Suite" choreographed by George Balanchine is a classical ballet in shades of blue.  A rich blue that is so regal it is nearly purple at times.  To think that this ballet originated in 1941 is a testament to Balanchine's training, heritage and musicality.

The solo piano played by Duncan Salton was beautiful to listen to.  The dancers must be in heaven to dance to such beauty.

This ballet showcases technique, musicality and artistry.  All I can say is that the dancing was exquisite and the precision of the footwork was impeccable.  The turned out heel and the elegant and square shoulders, the extended lines, the pas de deux, the musicality, the coherence.  Pure bliss.

"Suite En Blanc" choreographed by Serge Lifar  is a white ballet with the very commanding opening tableau.

I cannot single out anyone for not contributing.  It was pure team work.

The Pas de Cinq was danced with assurance and a slight edgy feel, as one dancer was replaced from the cast list.  This gave the performance a slight tension which added to their concentration and efforts.  They danced with a dedication to their team.

The Pas de trois with Madeleine Eastoe, Kevin Jackson and Andrew Killian was sublime.  They moved as one.  Kevin Jackson returning from a short stint with the American Ballet Theatre seemed to have a new level of maturity and confidence.  He seemed effortless and so robust in his body.  Both he and Andrew Killian were so methodical and assured in their support of the sublime Madeleine Eastoe.

The Serenade, dance by Reiko Hombo was exquisite in her musicality, artistry and dancing.  If she is not promoted to principal in the next 12 months it is only because the other Senior Artists are also so deserving.  I cannot remember such a strong Senior Artist team for years.  I had tears well up in my eyes with her magnificent technique and interpretation.

Laura Tong is such a fine dancer and her interpretation of Variation de la Cigarette was precise and powerful.  It was such a shame that in her final pose her foot slipped and stole from her a faultless performance.  In true professional style she covered this and took our attention away from this "inconvenient " irritation. To maintain one's composure, technique and musicality takes skill. She was so self assured, as if she stamped out a cigarette and made her finish so individual and relevant to this ending.

The Mazurka, danced by Chengwu Guo was breath-takingly brilliant. Powerful, majestic and electrifying.  This was sheer bravura and masculinity at its best. Cheers of appreciation resounded at the conclusion of this masterful technician's solo.  He reminds me of the powerful and young Danilo Radojevic.  I would love to see this young man perform the "Billy the Kid" solo choreographed by Michael Kidd and coached by Danilo.

Amber Scott was so beautiful in her Variation de la Flute.  She is so feminine, and is so solid in her technique that originates not only in her core but also her heart.  Her port de bras is so fluid, lyrical and weightless, as if she is about to take flight.

The double tours en l'air by the men were phenomenal.  Their finish into a clean fifth position was something I have rarely seen consistently by a group of men over an entire night.

Congratulations to The Australian Ballet on such fine work and artistry.