Nutcracker, The Australian Ballet, State Theatre, Wednesday September 18th 2019

Nutcracker, The Australian Ballet, State Theatre, Wednesday September 18th 2019

"The Nutcracker" was presented by The Australian Ballet, State Theatre, Arts Centre Melbourne on Wednesday September 18th 2019.

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.

I have seen this version of "The Nutcracker" by Peter Wright about four times now.  This was the second night and was I assume the second cast.  I have seen better performances of this ballet as some of the scenery, lighting and illusions were not up to their usual standard.

Dancing wise, some notable performances included Ako Kondo as the Sugar Plum Fairy, and Dana Stephensen as The Rose Fairy.  Both delivered crisp footwork with precision.  Imogen Chapman was the best Arabian female I have seen and was shown off by her very capable and powerful men: Sean Kiley, Joseph Romancewicz and Daniel Idaszak.  These guys made her a princess with their effortless support.

Marcus Morelli supported Clara with aplomb and assurance.

Having seen the Spanish Dance at least four times now, I do not like the choreography as it looks like pseudo Spanish.  Dimity Azoury outshone the men in this trio with the stances, poses and port de bras.

Brett Chynoweth had clean lines, with neat and assured conclusions.  His promenades en tournant with Ako Kondo were assured and I want to see this level of assurance consistently in lifts by slightly shifting his centre to be rock solid in his support of  Ako Kondo.

From the Dress Circle it appeared as if some of the cast were having a nice chat.  They may not have had a vocal chat, but more of in-house jokes by miming.  My partner confirmed this from the front row in the Stalls.  Yes, you can be seen from the Dress Circle. I pay big money to see top class dancing.  Keep in character and keep the jokes off stage.

On a high, my favourite moment was Sharni Spencer as the Snow Fairy.  I adored her, and congratulations for creating a lovely character with beautifully dignified dancing.

Overall, this performance of "The Nutcracker" received a 7/10.

Spartacus, The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 19th 2018

"Spartacus", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 19th 2018

"Spartacus" choreographed by Lucas Jervies was presented by The Australian Ballet, State Theatre, Arts Centre Melbourne on Wednesday September 19th 2018.

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.

"Spartacus" choreographed by Lucas Jervies, and in collaboration of Dramaturge, Imara Savage. was presented by The Australian Ballet, State Theatre, Arts Centre Melbourne on Wednesday September 19th 2018.

Lucas Jervies' "Spartacus" has a new perspective choreographically, and focuses more on the emotional connection between characters.  This is the fifth time I have seen a version of "Spartacus", and the first time I have seen this new version presented by The Australian Ballet.

The ballet works mostly and it is during act two that wavers dramatically and emotionally for one main reason that is outlined in more detail later.

What an electric atmosphere of anticipation for this new ballet.  There were audience members I had never seen before and they were dressed up for a sense of occasion.

Tonight we would witness the B Cast's premiere performance.  Wow, to see Amy Harris in her first role after being promoted to principal artist after the world premiere the previous night.  To see Jarred Madden in the title role was going to be special.  I am greedy and want to see all of the male leads perform this role. It is too special a role to see only once.

The official programme offers more information about the roles and differs from the night sheet.  The night sheet needs to state who Crassus and Tertulla as per the programme; for example Crassus, a Roman Consul and Tertulla, his wife.  The night sheet could also mention some of the other characters in the synopsis to clarify their role in the story.  The official programme does not mention Eustacia that contrasts to the listing in the night sheet.

Costume and Set Design by Jerome Kaplan works mostly.  The set design is impressive with three distinctly different looks to the set.  I liked the starkness to emphasise the heat and open spaces.  The curved side wings are a technical feat of pure "WOW" factor.  I have seen so much theatre design in 58 years that I was cheering inside.  The side walls lift and reveal square boxes or cages for the gladiators to enter, as if from lions' dens for the training of the gladiator's scene.

The side walls open and move to become a walkway for the crowds to enter to watch the gladiators fight, as if they were in the Colosseum.  This is very impressive scenic design.

Act One opens with four lines of dancers holding red flags ceremoniously.  This is a celebratory street parade that reminded me of the menacing flag waving scene from "Miss Saigon". The choreography in "Spartacus" has more complex flag waving and marching patterns.  The street parade honours the successful return of the Consul (Adam Bull), who sits atop a series of steps with his wife, Tertulla (Amy Harris).   Above the pair is a large statue of a hand with the index finger pointing upwards.

We are introduced to the slaves at an auction where Spartacus (Jarred Madden) and his wife Flavia (Ako Kondo) are separated.  This scene has gravitas and emotional connection at the human-meat market.  The physical brutality of the slaves is not censored.

Later we are introduced to the gladiators in training by Batiatus (Tristan Message) who personifies commanding and unrelenting stature.  The men crawl from their cages and display a signature theme of movement with crawling, stretching and thumping the ground.  The men are like alligators waiting to devour their prey.

Act Two opens with seven baths with steam rising as the men soak and luxuriate in the tubs.  The slave attendants fill the water from their ewers as they wait in postured servility in the archways.  A staircase links the two levels that heightens the possibility of drama with various entrances.  A guard parades on the upper level, while two guards protect the extreme sides for no one to escape.

Act Two begins with the seven baths and reminded me instantly of "Some Rooms" by Graeme Murphy for the Sydney Dance Company as danced by Ross Phillip and Janet Vernon in the bath tub.  Here this was a variation and paid wonderful homage to Graeme Murphy.

The men perform a dance of indulgence and relaxation in the baths.  The ladies swap to bathe in the water of the "superior" males.  The ladies' choreography is delicate and feminine.  Lucas Jervies has pampered the women with his choreography.  The men then join the ladies in a Roman orgy of pleasures in a bath house scene.  Many suggestive positions are adopted. The hierarchy is evident with the slaves in the background observing. The steam effect continues throughout.  We bear witness to the heat of the steam, and the sexual pleasures.

Choreographically the second act has the greatest opportunity for the female dancers to perform.  Yes there are solos and duets in the other acts, and the women danced well.  One of the patterns needs refinement with one circle of ladies going clockwise and the other anti-clockwise.  It was not clear if two of the dancers were out of time or danced the opposition in the wrong direction.  Was it a play on perspective? Thus, it looked like one of those "Escher" puzzles with the ladies' port de bras, and certainly confused this audience member.

The main solo for Tertulla (Amy Harris) had the audience on edge for the wrong reasons.  Speaking to other audience members, the long one sided dress was very dangerous as Amy was trying to navigate the choreography with the dress getting in the way.  I was watching that she did not slip on the end as it kept getting in the way.  This costume is not "dance friendly" and may be the wrong length or wrong fabric weight to allow for the intricate choreography to shine.

Act Two needs refinement; mainly when the children witness their father, Crassus (Adam Bull) being attacked.  Newly promoted principal artist Amy Harris could have done more to shield the children from the brutality.  This section of staging needs adjustment. Yes the children mimicked the fighting gestures earlier in the first act- but to witness their own father being attacked really lost me.

I suggest the artistic team view the "The Heat is Back On: The Remaking of Miss Saigon" 25th anniversary documentary.  Here the director talks about the child not watching the brutality and it heightens the drama as his mother will do anything to shield her son.  This level of emotional and dramatic staging was absent during this crucial scene.  The two children looked cute and we should have been abhorred at their presence.

Yes one of the children can still run to their father, and this would heighten the drama with the contact between Crassus (Adam Bull) being observed by his wife Tertulla (Amy Harris) trying to hold her son back.

The large statue of a hand with the index finger pointing upwards is pushed over by the rebels until the finger points to us in the audience.  It is moment of reflection for the audience to question each individual's responsibilities in society.

Act Three scenic design comprised of the curved side walls with an open rectangular space upstage.  There are three open fires.  The fire downstage left is where Spartacus (Jarred Madden) and Flavia (Ako Kondo) rest, while the other two fires are upstage in the blackened rectangular area, where the slave women and rebel gladiators rest.  The lighting is atmospheric and reminded me of the Qantas Dream-liner with the dawning-lighting-effect as the fires gradually extinguish.

Act Three has the most luxurious pas de deux for Spartacus and Flavia that runs about ten minutes.  The chemistry is electric as the music swoons with the well known romantic melody.  The dancing is sublime.  Did I say - sublime?  Yes, I had tears running down my face at the ecstasy of this fine duo.  Jarred Madden made the tiniest correction of a lift with a double movement to ensure Ako Kondo's safety, and thus heightened the emotional passion.  Jarred Madden was exceptionally as her partner with the numerous lifts that would challenge any weight lifter.  The single arm lifts and the presages received well deserved applause, not so much for the physical feat but for the artistry and fluidity of achieving such difficult lifts.  My heart was thumping as I know how difficult these lifts are to execute with immaculate timing and trusting relationship.

Jarred Madden as Spartacus was exceptional.  Repeat exceptional - with his technique and artistry.  He personified masculinity and passion for Flavia.  His turns, elevation and positions sliced the air to create eternal images.   More so, Jarred Madden's dancing transcended any other role that I have seen him dance.  His technique became invisible as he shone so brightly and became Spartacus.  What a role model for young male dancers.

The final images reminded me of the "Reckoning" scenes from "Wayward Pines" as the residents are called upon to witness the traitors.  It slightly reminded me of the "Reckoning" scenes along the riverbank from "A Handmaid's Tale" though in "Spartacus" the rebel's faces are not covered.  Here the blood splattered rebels push their plinth stone, and then each rebel is hoisted up by the soldiers to become an "example of" as if Roman statues.  As Flavia enters to find Spartacus, she finds him on a pedestal, he weeps and is heartbroken.  The red blood accentuated his musculature and the physical effects of him emotionally distraught.

Flavia's final solo is gut-wrenching. Dancing within a stark set highlights her vulnerability in such a large area.  This scene highlighted the various levels of hierarchy: those who comply as in the soldiers, the rebels on display, and the elite who observed and went on their way.  Flavia's world has shrunk and we are witnessing her devastation of being left alone from her love.

Hermes portrayed and danced by Callum Linnane was gut wrenching.  He was brilliant.  At the beginning of the fight with Spartacus in Act One, their two heads together made a powerful symbol of friendship that will endure through death.  That sincere image of Callum Linnane and Jarred Madden grasping each other's heads will remain etched in my memory for life.

The duet by Caius (Lucien Xu) and Eustacia (Jasmin Durham) was extremely well danced.  His slighter physicality contrasted with the beefier gladiators, and thus accentuated his elite and precious status, of fragility.

Fight Director. Nigel Poulton has directed the fight scenes with marked realism.  It did not have the corniness of the sword and weapon play, and created a raw brutality.  The neck wrenching and twisting, I am sure made many audience members cringe and squirm in horror.  My chin certainly cowered to protect myself as I witnessed these moments.  I am sure many audience members were aghast at the brilliant fight scenes.

Lighting Design by Benjamin Cisterne brilliantly captured so many different atmospheres that complemented the music and choreography.  The stark lighting for the opening of act one with the parade; the focused attention of the gladiator's arena also in act one; the steamy bath house of act two, to the dawning of a new morning in act three were but some of the visual lighting highlights.  There were so many lighting highlights to relish that I am sure the lighting plot will be more refined over time to heighten the emotion and storytelling.  The finale image of the men on pedestals was deeply moving.

Orchestra Victoria under the baton of Nicolette Fraillon was sublime.  This was easily the best performance I have heard of the Aram Khachaturian score, as the orchestra brought out the passion in the music.

Lucas Jervies and his entire creative team should be very proud of this version of "Spartacus".  I yearn to see this version of "Spartacus" with minor revisions again.

A hearty congratulations again for the 2018 season, as this was the first season that contained all works that were originally created for The Australian Ballet.

"Spartacus" earned an 8/10. 

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

"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.

The Australian ballet has redeemed their repuation after viewing a very ordinary performance of "The Sleeping Beauty" with the "Symphony In C" programme of works.  

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.

"Alice's Adventures in Wonderland", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 13th 2017

""Alice's Adventures in Wonderland", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 13th 2017

"Alice's Adventures in Wonderland", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 13th 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.

I cannot rave enough about "Alice's Adventures in Wonderland" choreographed by Christopher Wheeldon and presented by The Australian Ballet at the State Theatre, Arts Centre Melbourne.  This ballet is so much fun and pays homage to Lewis Carroll in so many ways.

I was fortunate to witness the sublime talent of Lauren Cuthbertson from The Royal Ballet dance the role of Alice.  She was sublime.  Her arms floated and wafted and created so many varied textures.  Her footwork was brilliant - clean, crisp and sharp.

The dual roles of Jack and The Knave of Hearts were danced by Christopher Rodgers-Wilson with strength and precision.

Adam Bull danced the Lewis Carroll and White Rabbit role distinguishing each role with clarity.  His final twitch as a young man on the park bench was priceless.

Nicola Curry as the Mother and Queen of Hearts was sensational.  The costume for the Queen of Hearts pays homage to the "Disney on Parade" 1971 "Alice In Wonderland Unit".  She distinguished between each role with her cruel demeanour as the Queen of Hearts.

Tristan Message as the Father and The King of Hearts made so much out of his downtrodden husband of the queen.  The simple change of body language spoke volumes for the clarity of characterisations.

Jarryd Madden as the Magician and Mad Hatter created distinct characters.  His dancing was fine, while his tap dancing in Act One seemed out of time.  His tap dancing in Act Two was much more secure with clarity of beats and timing.  Some of the tap choreography is quite tricky with changes of weight distribution.  It is a great touch to have tap dancing (a much under-rated dance style) incorporated in such a fun way.  

The Cook danced exquisetly by Dimity Azoury was sheer perfection.  It a dream dance role for Dimity Azoury with her expressive facial expressions and her definite goal driven actions.  She is such a gorgeous young lady who transforms into an ugly cook on a mission, and nothing would appease her.  Her interactions with other characters paid homage to Mrs Lovett from "Sweeney Todd" the musical.  Wow, what a sensational and menacing performance.  

My main disappointment was that I could not return to see this superb production again as tickets had sold out.  I could easily have seen this ballet at least twice more.  I cannot wait for the return season.  Please return in 2019.

"Alice's Adventures in Wonderland" obtained a 9.5/10.

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.

Coppelia, The Australian Ballet, Palais Theatre, Wednesday September 28th 2016

Coppelia, The Australian Ballet, Palais Theatre, Wednesday September 28th 2016

"Coppelia"is revived by The Australian Ballet, Palais Theatre, Wednesday September 28th 2016.

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.

This production of "Coppelia" was devised and directed by George Ogilvie with original choreography by Arthur Saint-Leon and revised by Marius Petipa and Enrico Cecchetti.  This original choreography was reproduced by Peggy Van Pragh, and then by the Benesh Notator Mark Kay.

Sets and Costume Design are by Kristian Fredrikson.  His sets are costumes are as sumptuous as ever.

Lighting Design is by Francis Croese creates the right amount of focus on this narrative ballet.

Staging at the Palais Theatre at 13 metres looks cramped compared to The State Theatre's 15.44 metres proscenium stage width.  But oh the seats are so much more comfortable and the ushers are better at the Palais Theatre as they escort you to your seat!  I remember seeing this production originally in 1979 here and it did not look quite as cramped with the amount of crashing into each other that occurred in the large ensemble dances.

The best part of the "Coppelia" was the sublime duo of Ako Kondo dancing Swanilda with her real life partner Chengu Guo as Franz.  Chengu Guo's pirouettes and grande coupe en jete entournant menage were steely and electric.

The other aspect was the orchestra who played the delicious music of Leo Delibes brilliantly under the expert direction of Nicolette Fraillon.

Some of the crashing into each other for the corps de ballet was distracting.  But the view from our seats was sensational.

I was disappointed that The Australian Ballet did not explain to subscribers either in the brochure or the press the reason for the move to the Palais Theatre.  I guessed it was to do with the "Ring Cycle" and rang and confirmed this prior to attending.  Still The Australian Ballet did not tell subscribers and I had regulars asking me if I knew the reason.  These regulars also were disgusted that The Australian Ballet did not tell their regulars.

Overall this production received a good but not great 7/10.

Nijinsky, Australian Ballet, State Theatre, Arts Centre Melbourne,Wednesday September 14th 2016

Nijinsky, Australian Ballet, State Theatre, Wednesday September 14th 2016

"Nijinsky", The Australian Ballet, State Theatre, Arts Centre Melbourne,Wednesday September 14th 2016

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.

I wrote the following on my Facebook page as soon as I arrived home from the ballet:  ""Nijinksy" is a new ballet for The Australian Ballet, choreographed by John Neumeier from the Hamburg Ballet. Beg borrow or steal a ticket as it is the BEST ballet I have ever seen. The dancing is simply breathtaking - especially for the men with incredibly masculine dancing. There were too many good performances to quote here. Please bring it back soon. September 15th 2016."

I am still glowing on September 22nd as I try to write my thoughts about this ballet.

The word that springs to mind is SUBLIME.  I can die happy that I have seen one of the most perfectly constructed and danced ballets.  John Neumeier originally choreographed this work for the Hamburg Ballet in 2001.

I remember screaming at the curtain calls.  The people sitting behind me are older and love the traditional ballets.  I remember hearing them comment on my enthusiasm.  I do not think they know what brilliance they had just witnessed.

I have read at least four books on Nijinsky's life and the detail in this ballet was frighteningly real as John Neumeier brings the historical pages to life.  I know that John Neumeier has the most comprehensive collection of Nijinsky memorabilia in the world and thank heavens he does - as he enriches our understanding of the world around Nijinsky.

The opening is confronting for many people as the dancer's talk and the theatre house lights are still lit.   It is as if we are also watching this final performance - as if we too, are also preparing to take our seats.

I cannot express the joy and gratitude to the dancers, designers, stage crew and production staff who brought this gem to life.  Can't you tell I loved this ballet?

I have never seen the ENTIRE company of The Australian Ballet dancers dance so well in one performance!  The planets aligned - musically, choreographically, artistically and emotionally.  I had tears rolling down my face during at least two scenes with the sensitive story telling.  The miming was not theatrically old fashioned, but profoundly moving and deeply projected into the back rows of the State Theatre.

Who will ever forget the opening set with the white expansive balconies and the grand piano on stage right?  The stark white set accentuated the institutional coldness for which Nijinsky spent his final years. The set and costumes designs are also by John Neumeier which solidifies this holistic production.

The lighting is reproduced by Ralf Merkel and highlights the emotional juxtaposition of Nijinsky's brilliance and madness.  The lighting also shadows and x-rays the inner emotional charges of each of the characters.

The end of Act One was the richest ending to a ballet I have ever seen.  I counted at least fourteen of layers of historical complexity in the final minute of this act.  I was swept away by the sheer depth of research that has gone into making this a modern masterpiece.

The stroke of extra brilliance was the counter-pointing the World War One story of Nijinsky's brother into "Le Sacre du printemps".  The energy of the dancers and the staging created incredible atmospheres that mirrored both the war and the premiere of this famous ballet.

Having Nijinsky counting and screaming vocally from the wings created a realism.  I wanted to scream and shout as if I was there at the 1913 premiere.  I wanted to scream for the audience to cheer and show their appreciation to create the atmosphere of chaos.

Note that the modern day version of chaos is audience members with their distracting mobile phones. An audience member in the stalls took lots of photos at the start of Act Two. This is unforgivable from a copyright and distraction point of view.  But was totally understandable to record such brilliance.

Kevin Jackson as Nijinsky gave his finest performance ever with his solid technique and musicality. It was Kevin Jackson's emotional connection to Nijinsky that he brought to life.  He also emphasised his physical nuances in his relationships with different people such as Serge Diaghilev, sister, mother and brother.

Any Harris as Romola Nijinsky also gave her finest performance with a depth of understanding of Nijinsky's wife.

Nicola Curry deserves a promotion with her outstanding portrayal of the sister Bronislava Nijinsky. She demonstrated a rich emotional and physical connection to her character.  She was also breath-taking as the Chosen Virgin in "Le Sacre du printemps".

Francois-Eliot Lavignoc needs to recognised for his absolutely brilliant portrayal of the brother Stanislav Nijinsky.  His solos were mesmerising and brilliant demonstrating the highest quality for such incredible choreography.  He is someone to watch for the future.

Adam Bull as Serge Diaghilev was statuesque and commanding, though very underweight for this chubby gentlemen.  His duet with Kevin Jackson played with the dynamics of their power struggle - between the impresario and the artist.

Dimity Azoury and  Joseph Chapman danced Nijinsky's parents with aplomb and honesty..

Natasha Kusch rounded out the main role as Tamara Karsavina and danced many varying roles.  This is the best I have seen Natasha Kusch dance and look forward to seeing her virtuosity in the future.

Nathan Brook as the New Dancer - Leonide Massine provided the sexual tension and jealousy to up the emotional ante.  His charismatic entrance in "Jeux" sliced the air to create the requisite sexual tension.   He too is another dancer to watch for in the future.

Brett Chynoweth shone in each of his cameo roles.  He brought the historical ballets to life with assurance.  Brett Chynoweth with Francois-Eliot Lavignoc created the time-line of Nijinsky's life as they danced his shadows.

Jarryd Madden as the famous Faun and the Golden Slave in Scheherazade was terrific with his clean lines and strength.  The passing of the scarf for the ejaculation moment was counter pointed upstage in a duet.  The simultaneous moment with Jarryd Madden adopting the famous pose with the duet was like a volcanic sexual eruption.

Andrew Killian as Petrouchka provided the dark mystery and tension in his reliable manner.

The Ballerinas of the Marinksy Theatre were danced stylishly by Sharni Spencer and Jade Wood. They were partnered by Brett Simon and Richard House with masculine confidence.

The corps de ballet were phenomenal in creating so many atmospheres of ball scenes, war and historical ballets.  The rising and falling of soldiers in the war scene was sheer brilliance creating newsreels from the battlefields.

I want to see this ballet again to savour the complexity of the relationships of the characters and the historical elements.  There are too many wonderful memories that escape my description here.

This cast were exceptionally good and congratulations to them all.

Congratulations and thank you.  I could die happy knowing I have seen the most perfect ballet and cast.

I gave this a SUBLIME 9.75/10.

Romeo and Juliet, Houston Ballet, State Theatre, July 6th 2016

Romeo and Juliet, Houston Ballet,  State Theatre, July 6th 2016

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.

"Romeo and Juliet" by the Houston Ballet was presented as part of The Australian Ballet Melbourne subscription season and I attended The State Theatre, Arts Centre Melbourne on July 6th 2016.

The programme cast sheet had the poorest of printing quality and was hard to read.  Other regular patrons agreed in the poor quality on the synopsis side.

This is a glorious sumptuous production, choreographed by Stanton Welch.  He has developed into a fine story teller by filling in so many missing gaps that other versions do not reveal.  Though this is at the expense of what seems a longer work.  Some of the scenes were necessary to tell the story, though the John Cranko version is more succinct without the detail of this production.

Choreographically there is a depth to the individual characters which is particularly noticeable in the Act 1, Scene 2: The Market.  Though visually stunning the focus was all over the place and other audience audience members were trying to differentiate between each of the characters.

Each character seemed to have signature movements and Michael Chekhov would be impressed as if
was using their own psychological gesture.  The nuns flitted across the stage on pointe - not your traditional pas de bourree, but more with a prim and proper religiously superior gait.  So many spring pointes were used en pointe to show excitement and an innocence of youth.

Many variations of echappes: saute, a terre and en pointe; were used by both sexes.  These echappes symbolically showed the separation of the two families. These simple movements created a subliminal tension.  I adored the masculinity of the men who defiantly asserted their strength with an echappe to a turned in second stance and fists on hips epaulment.

The ballet was hard to follow at times due to the lack of focus and busy background action.  There was just too much to take in and savour!  Even at the end of Act One I said to myself that I have to see this act again to absorb the depth of skill in choreographing so many characters..

"Romeo and Juliet" felt like a long ballet but was well worth the ride.  The thunderous applause and cheering was unheard of in my 35 years of going to see The Australian Ballet.

Act 1, Scene 5: The Ball was beautiful but the costume's colours merged into the backdrop.  It was so hard to see the port de bras above the shoulders against this background, and what made it worse was that the males and females alternated arms and became a blurring and rotating kaleidoscope.  I enjoyed the simplicity of the choreography during the famous musical phrases, and longed to be able to see the arms more clearly.  At times it reminded me of a televised triangle of the girls' and boys' audition combinations from "A Chorus Line".

The costumes and sets by Roberta Guidi di Bagno were stunningly military in their colour coding for each family unit.  The set folded into various configurations to create the alleys which turned into the ballroom and then into the famous balcony scene.

Act 2, Scene 2: The Chapel where the wedding of Romeo and Juliet occurs, was a magnificently simple set with a screen flown in with a large cut-out cross.  Light beamed from behind to create a lovely cross on the floor.  This lit cross created a boundary for family, and foreboding their doomed future - like their crucifixion and their tombstones.

The bearded men in blue were so snappy and crisp in their turns and batterie.  They received and deserved their acknowledgement by the audience who appreciated their sublime dancing.  I think it was Derek Dunn as Balthausar and Oliver Halkowich as Benvilio.  One of these fine young men displayed the neatest and most pure attitude en avant piroutte en dedans I have ever seen a male dancer perform. That. rarely performed pirouette, alone was worth my ticket.

It is so refreshing when the men out-shine the woman in such a traditional art form as ballet.  This is not to say the woman did not dance well, they danced beautifully.  To see so many fine male dancers was electrifying.

Jared Matthews as Mercutio had me gasping at his power and his controlled pirouettes.  His sensational double tours en'lair were breath-takingly clean, crisp and polished.  He too made my ticket worthwhile.  Then Jared Matthews finished off with more turns a terre.  Jared Matthews finished his turn with a solid, masculine and forth right fifth position.

Lord and Lady Capulet were danced respectively by Linnar Looris and Jessica Collado. They commanded your attention.  With the caring Nurse danced by Barbara Bears these three created emotional and electric charges of concern for Juliet.  Each had their signature moves to demonstrate their concerns, frustrations and love for Juliet.

Tybalt danced exquisitely by Christopher Coomer.  The fight sequences seemed natural and paid homage to the Errol Flynn movies without being hammy.

The sword fighting sequences with about twelve dancers were exciting and created tension.  There was no pussy footing to be seen. The rotating circles of sword fighters created a visual feast.

The miming was clear throughout.  It was a little patronising and over-explained in some sections, but added the depth of story telling that other versions of this ballet lack.  Normally the miming is referred to by our ballet audience group as "fluffing about", but here we had more action than other narrative ballets.

Although Act 1 seemed to not have as much dance, it was still spectacular to watch.

Finally to the two leads.  Romeo and Juliet were danced sublimely by Connor Walsh and Karina Gonzalez.  My ticket value had soared to scalper's heaven with these two dancers.  My heart was pounding with the love and angst they portrayed.  Having been trained by Anne Wooliams and Jan Stripling, I had learnt so much about John Cranko and his version of Romeo and Juliet .    Connor Walsh and Karina Gonzalez spoke every line of Shakespeare's iconic love story through dance.

Connor Walsh and Karina Gonzalez are names etched in my memory for their exquisite technique and musicality.  We were voyeurs as they created the forbidden soft ballet-porn with their erotic but not pornographic sexualisation of the love story.  We were allowed to see the development of their relationship in such a beautifully revealing way.  The simplicity of the kisses were natural and not the cliched dance moves.  They were passionate, romantic and eternal.

Connor Walsh never missed a beat with his pure technique and skill.  My heart leapt out of my chest with a few of his lifts.  A MICA unit nearly had to be called when he swept Karina Gonzalez across the stage and threw her around his neck and created seamless, flowing images that will stay with me for a lifetime.  Connor Walsh's pressage where he lifted Karina Gonzalez above his head with straight arms was as if he were a crane on a building site lifting her to the top of the Eureka Tower.  Breath taking!  It was the equivalent of the Alex Jesaulenko 1970 mark in Australian Rules Football - to be recalled for ever. That is why Melbourne audiences love and appreciate both their Australian Rules Football and the majesty of ballet. Speechless!  (Not really speechless - I cannot rave enough about these two iconic 21st Century stars!)

Karina Gonzalez showed the innocence of Juliet with her pure lines and her precise but not clinical technique.  Her footwork was so neat.  Both Connor Walsh and Karina Gonzalez's acting and interaction with other characters had a depth of understanding to their respective roles.

The Arts Centre Melbourne had many toilets being renovated and the queues to the Ladies Toilet were so long and many chose to venture upstairs to near the VIC Restaurant at the second interval. More advance signage should have given patrons notice that specific toilets were closed in advance. I only noticed one sign had been covered over.  The second interval was only 15 minutes and many ladies were still scurrying back from the long walk from the street level.

"Romeo and Juliet" by the Houston Ballet at The State Theatre, July 6th 2016 was a terrific night of dance and I could see this production again.

Overall I gave this production an 8/10.

Swan Lake, Australian Ballet, State Theatre, Wednesday June 8th 2016

Swan Lake, Australian Ballet, State Theatre, Wednesday June 8th 2016

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.

"Swan Lake" choreographed by Stephen Baynes is usually a tight cohesive ballet.  This return season and the second night by The Australian Ballet, State Theatre on Wednesday June 8th 2016 should be re-titled "Swan Dive".

Let me first highlight and congratulate the sublime partnership of Kevin Jackson and Leanne Strojmenov.  Their partnership saved the evening for me.  Their chemistry and artistry was on fire with electricity to the back row of the State Theatre.

Now I have seen at least 40 live performances and many versions of Swan Lake by both The Australian Ballet and many international dance companies and I know the difference between a solid performance and otherwise.  Heaven help me with the number of versions I have seen on television, cable tv, or on video or dvd.

Act One saw a sloppy corps de ballet.  To top off Act One I saw one of the worst pas de trois I have seen in a ballet with sloppy footwork, individual timing and near falls.

The man was not supporting his turns and stumbled on about four occasions.

The corps de ballet were out of time and the lines were wonky or not straight.  The pas de deux during the corps de ballet main dances highlighted the hand to hand exchange between the male and female dancer as sloppy and laboured.

I repeat that Kevin Jackson and Leanne Strojmenov were great and may not have been aware how they saved this performance.

The Act Two white scene left me uninspired.  The corps de ballet seemed disengaged.  Take note the interview with Eloise Fryer on page 27 of the programme may explain why. I would expect that the swans would be holding their poses to create a frame and an atmosphere.  Not according to Eloise Fryer who explains that during these 15 minutes of holding a pose she will either look at the orchestra or will run over choreography through her head.  Well used this later technique during "Giselle"!  I am so not impressed that the concentration levels have resorted to this!  Maybe we could supply the corps de ballet with tablets and mobile phones to catch up on their social media obligations!

Overall this "Swan Lake" was more like a "swan dive"!

Vitesse, Australian Ballet, State Theatre. Wednesday March 16th 2016

Vitesse, Australian Ballet, State Theatre. Wednesday March 16th 2016

"Vitesse" was presented by The Australian Ballet at the State Theatre on Wednesday March 16th 2016.  This is one of the best contemporary triple bills in The Australian Ballet's history comprising "Forgotten Land" by Juri Kylian,  "In the Middle Somewhat Elevated" by William Forsythe and "DGV©  : Danse A Grande Vitesse" by Christopher Wheeldon.

For those new to my blog I write about the holistic experience of attending the theatre.  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 also mainly write for my memories of what I have seen.

"Forgotten Land" by Juri Kylian is a beautiful work that I have seen on about four or five occasions. I thought this cast were terrific dancing Juri Kylian's haunting choreography.  The sets and costumes are also by Juri Kylian.  The skirts look heavy-weighted fabrics but the female dancers make them move as if part of the choreography and also paying homage to costumes worn in Martha Graham's ballets.

The last girl in the cream coloured dress had a higher centre of gravity and from the beginning of her pas de deux affected her ability to be grounded like the other female dancers.  This gave the feeling that she was slightly off the beat.  She danced beautifully though created a visual heaviness with her partner.

"In the Middle Somewhat Elevated" by William Forsythe is another of my favourite contemporary ballets.  I have also seen this work on about four or five occasions and adore it.  The cast danced this beautifully with zest and verve.  It is an in-your-face work and is confrontational for the narrative story ballet-goers with its recorded score.

Apologies as I am finishing this review a few weeks after the event and did make notes though I am vague in names.  The shortest man had brilliant balance and was so light and buoyant.  I think his name is Callum Linnane and he is a dynamo to watch as he is so charismatic and was like a bouncing ball.  He was replacing Jarryd Madden at the last minute.  These type of cast changes are so exciting as the dancers are even more alert with a heightened sense of responsibility to deliver the goods.  Congratulations as the entire cast were brilliant and had me on the edge of my seat with your hyper extensions, off balances and thrilling bravura.

The finale pas de deux contained some hand holds that were so difficult - as the female lunged forward and was off balance.  They made it look effortless - when I can appreciate the timing, strength and skill involved. Cheers for a sensational and breath taking connection in your partnership. This was a sublime pas de deux.

"DGV©  : Danse A Grande Vitesse" by Christopher Wheeldon was my least favourite work of the night - though I still thoroughly enjoyed it for surprising reasons.

The set and costumes by Jean-Marc Puissant were fun.  The set was similar to seven rolls of celluloid film rolled up and jaggered at the raised ends which created various images of rolling hills or secret hiding places.

The corps de ballet out shone the principals for the choreography they danced as it was much more interesting and was so arresting and mesmerising.  It was as if the four pas de deux were lifting show cases for the men to show off how many lifts they could execute in the shortest given amount of time. Though each pas de deux was well danced they were such a serious contrast to the corps de ballet and the fun choreography they danced.  The corps were like the scenery you pass on a train journey and if you were not looking out of the train window you would miss their fleeting moments.

The corps de ballet reminded me of the Busby Berkley sequences from the movies with the various formations and playfulness.  Their port de bras was reminiscent of Delcroix Eurthymic exercises with a splash of Busby Berkley.  The changing of the arms with the couples turning their partners was a trick of the eye and so much fun.  They created optical illusions that had me questioning if I was watching correctly - a twist here, a turn there and a cheeky change of hands etc.  Wow!

Even before I had a chance to read the programme, I thought the pas de deux ballet reminded me of the dance sequences from the Gene Kelly film "An American In Paris" and as if I was looking out the window of a train to entertain myself.  The corps de ballet provided the light interludes and splash of dynamics.

There is an intrinsic focus problem with this ballet and that is the corps de ballet have the most interesting choreography.  They pull focus from the principals each time as I wanted to really concentrate on their moves, patterns and delivery.  They created such wonderful images of a journey.

I became obsessed with wanting to follow the corps de ballet from their first formation: when they moved from Stage right to left I was watching the first pas de deux and realised the corps had disappeared.  It was so enticing and played with our senses: as I questioned myself whether the corps suddenly were blacked out or gradually faded to a black-out.  This cemented the imagery of a train journey for me as if entering a new tunnel.  They moved along to Stage left in their formations.

Some of the entrances and exits were through a gap between two of the jagged ends of two film strips.  The dancers had to angle themselves to squeeze through the gap.  To me it was if we were voyeurs and sneaking into this private journey of what we could see on the travels.  Climbing through this barrier was embedding memories into our brains to differentiate between the fleeting moments that passed us by -  to these determined and deliberate actions to invade a new space.  They were trespassing and invading our senses.

The coda was sharp, bold and defined.  The music ended as the four couples held their female partners aloft.  This finale image was an after shock or an orgasmic after-glow to suspend the majesty of the ballet to let it linger in our memory.  This is our after glow or end to our journey to "Bliss".

Although it was my least favourite of the evening's ballets -  I do want to see it again as it was so rich in details.  I feel cheated that I did not get another chance to travel on this journey.

The music by Michael Nyman sounded like Phillip Glass repetitions and cycles with subtle changes in between.  Michael Nyman's score was played by Orchestra Victoria with gusto.

I really loved was the dancer's wrists were not a distraction as in any of these ballets.  The men and women created fluid lines that radiated beyond their finger tips, where-as in some story ballets the women, in particular, have a jarring angularity in their wrists which creates an evilness rather than an ethereal quality.  Here tonight, the dancers created magnificently pure shapes.

Each dancer gave us every ounce of their energy and artistry, and they were all were sensational.  The dancers serve us proud as a nation - dedicated to their art.

"Forgotten Land" by Juri Kylian,  "In the Middle Somewhat Elevated" by William Forsythe and "DGV©  : Danse A Grande Vitesse" by Christopher Wheeldon is the one best triple bills by The Australian Ballet with its dollar per step value.  Give me a good quality triple bill any day rather than the fluff and filler-material in the story ballets.

Better still it was a mobile phone free night!  No distractions in ten years!  Call the Ambulance as I am having a heart attack at the shock!

A brilliant night at the ballet.  That is a brilliant night at The Australian Ballet.  Who?  Yes The Australian Ballet - our ambassadors to the arts world.

Sleeping Beauty, Australian Ballet, State Theatre, Wednesday September 16th 2015

Sleeping Beauty, Australian Ballet, State Theatre, Wednesday September 16th 2015

The Australian Ballet's new production of "The Sleeping Beauty" is conceived by Artistic Director, David McAllister with Costume and Set Design by Gabriela Tylesova and Lighting Design by Jon Buswell.

I am usually not a fan of "The Sleeping Beauty" as in the past it has laboured on and on with audiences nodding off and lots of shuffling feet.  Previous productions have appeared either tired or just way too long.  I was surprised that a new production was so close on the heels of the 2005 production by Stanton Welch.

In the Weekend Australian Sharon Verghis interviewed David McAllister (Weekend Australian Review August 29-30 2015, pages 6-8).  She wrote about  "Welch's 2005  production was strong on ideas but fundamentally flawed aesthetically" and apparently Stanton Welch himself thought the costumes were weird when he saw it a second time.

The 2005 marketing blurb by The Australian Ballet was extolling the then new Stanton Welch version while in a recent interview with Amanda Dunn in The Age (Spectrum August 29 2015, pages 8-10)  reading between the lines David McAllister was not happy with the 2005 production.  In The Age interview David McAllister said "My aim is that once you sit down and the curtain goes up you won't be able to tell what is new and what's old".  He also said in the interview to The Age that he wanted "to get a production to be a bit more user-friendly to audiences, families and so on".   Congratulations to David as to some extent his vision does apply.

I was waiting to see for myself, because as a subscriber I thought "why not just fix up what you were not happy with Stanton Welch's production?"  David McAllister has succeeded with this redeeming production and turning my dislike of this ballet to fond regard and respect.

Costume and Set Design by Gabriela Tylesova is superb.  The set design with the bones or antlers protecting the wings reminds me of the model theatres that we would build as children using fruit boxes and the toys from the cereal packets.  It created a magical fairy tale quality with the hint of darkness.

Lighting Design by Jon Buswell illuminates the dancers, sets and costumes in majestic harmony.

The staging of dancers carrying on tables and the baby's crib was awkward.  I understand they do not use  mechanical trucks to wheel these set items as they may ruin the specialised dance floor.  (Is it Tarkett?)

Some children in the audience were falling asleep during Act Two as it was a school night and very late for most. Many of the children around us were nestling into their parents as they tried to stay awake for Act Three.  I do not blame The Australian Ballet if they bring this new production back within two years.  Also it would be admirable if they created a book to record the process of creating this new ballet and showcasing the beautiful designs for the sets and costumes.

David McAllister's notebook is full of his ideas.  I am surprised that the documenting of the choreography has not been recorded in Benesh Notation with the expertise of Mark Kay.  The purity of David McAllister's vision of intended moves and timing is more accurate using this type of recording rather than video or digital film which only records an interpretation of a performance.
It is so important to record the details of movement and intention in their pure form without politics of different interpretations. (Refer Benesh Notator, Michele Braban's specialised articles.)

Act One had a Black Prince who stole this act for me.  The four princes danced well but the Black Prince was sensational.   He was brilliant with his powerfully strong and assured presence and his crisp neat technique.  He was a prince to drool over for his masculinity and brilliant dancing.

Act One has Carabosse (Lynette Wills) present Princess Aurora (Amber Scott) with a spindle, and then accidentally pricks her finger and collapses into a deep sleep.  The Lilac Fairy (Valerie Tereshchenko) casts a spell over the kingdom and sadly about four of  the dancers fell on a musical cue rather than when directed by the Lilac Fairy's spell.  This error also occurred during Act Two when about four dancers (of the court) awakened on musical cue rather than when directed by the Lilac Fairy's breaking spell.

Act Two has a strange moment when Prince Desire (Ty King-Wall) does not see the Lilac Fairy each time she enters. This looks ridiculous and is the main part that needs some re-staging.  She is right in front of him and he pretends to not see her.  But then she is right in front of him again and he suddenly sees her.  It was corny and sillier than ever and had a disconnect with David McAllister's other visions for improving this ballet.   Cleaning this section up will create a more logical sighting of the Lilac Fairy by Prince Desire.

The other aspect that does not make sense is when Prince Desire is given a key.  As an audience we think the key is to open the large black gate in front of him, No!  The black gate flat flies out as we enter to see Sleeping Beauty in a casket.  He uses the key to open the casket.  (It is a fairy tale and logic does not always apply.)  In Act One there was more ostentatious miming for such smaller incidental actions compared to no miming by Prince Desire to open this huge black gate!

The ivory/bone coloured flats that bordered the proscenium arch were kept to frame Act Two.  When the black gate flew in these ivory/bone flats stood out so much that they looked out of place.  Maybe the lighting could subdue the focus on these to reduce the contrast as we are talking about a hundred year sleep here.

The sleeping chamber reminds me of the rose petals bed from the movie "American Beauty".

The story of the princes vying for Princess Aurora's affections in Act One reminds me that this story has been rehashed so many times.  The latest television versions of "The Bachelor" and "The Bachelorette" are poor cousins to this version of  "The Sleeping Beauty" ballet.

David McAllister's Act Three is the best I have ever seen.  The first time I saw "Aurora's Wedding" was in about 1967 at The Princess Theatre.  His version transported me to the magical wedding rather than wanting to flee the theatre from fatigue.

The third act was a major highlight visually and a reduction of audience fatigue.  Children were still falling asleep as it was a long night.   I am so grateful for the reduction in time.

During a large ensemble number with all of the dancers in rows. one male dancer in the front row wearing red shoes began another phrase of choreography and quickly recovered.  I am more in awe of the speed of recovery than the error.  Yes he may have possibly jumped forward in the choreography or started the choreography for another role.  Why you ask am I pointing this out?  Because this company is so good and dancing is a means of communication, and his partner's communication helped him recover from this hiccup.  Teamwork and trust work together are paramount.

Another couple barely had enough room to squeeze through during two line formations of one group moving downstage as the front row threaded back upstage.  Yes they banged into each and continued. No hysterical fits - they just got on with the job.  They cannot hold grudges as this could easily happen to anyone of the dancers.  It was only the second performance and confidence of spacing on the stage will improve.  Again I am more impressed with the resilience of this company and how the dancers just get on with the job.

Amber Scott is a sensational ballerina.  I found her left foot was being favoured a little during the first two acts.  If so, this is totally understandable as this is a huge role for any dancer let alone a ballerina of Amber Scott's quality.  By Act Three, Amber had overcome her tentative left foot, as her assurance returned thus demonstrating her supreme artistry.

I think her left foot may be aching due to the most magnificent pas de cheval en pointe sauté across on the diagonal.  I have seen other dancers perform a similar sequence before but not with Amber's lightness, grace and finesse.  Amber brushed her right foot with tenderness: caressing the floor while her left foot hopped along to create magic.

Ty King-Wall was brilliant as Prince Desire with his pure lines and solid technique.  His three double tour en l'air in a row were some of the cleanest and most majestic I have ever seen by a male dancer. He has a strong core and concluded each turn in a tight and clean fifth position without sticking his bum out at the end in his plie.  His arms were steel - strong, bold and regal, framing his body majestically.

Both Amber Scott and Ty King-Wall are ballet royalty.  Both dancers are for young dancers to aspire to, and for older people to relish in the fantasy they deliver.

The third act had the integration of the fairy tale characters at the masked ball.  These fairy tale characters were the friends in the woods from Act Two.  They arrived at the ball in fancy dress costumes.  This doubling up of the friends playing the fairy tale characters made sense for the first time ever in Act Three, rather than having the fairy tale characters just dancing party tricks.

The Bluebird pas de deux was good, though at times it looked like Brett Chynoweth's left foot was not fully stretched and this may have been an optical illusion due to the colour of the shoes. Or maybe an elastic broke as it seemed to flap a bit.   His batterie was robust.

Valerie Tereshenko was brilliant as The Lilac Fairy.  She has matured so much as an artist.

The various fairies danced well and I wanted more sharpness when required.

Act Two had the green nymphs protecting Princess Aurora from Prince Desire in various configurations.  At times this became corny when the protection was contrived and choreographed rather than really not allowing the Prince Desire access to Princess Aurora.  The configurations at times added more drama and we needed more of this.

John Truscott would have loved the ushers and bar staff wearing a pink flower in the lapel to add to the atmosphere of attending the ballet.  His vision for the Arts Centre Melbourne was that patrons should have an experience before, during and after a performance.

During the final curtain calls there was no Lynette Wills as Carabosse which was disappointing as the audience wanted to show her our appreciation.

Historical note:  This was the first time in three years that we did not have mobile phones or electronic devices beeping or flashing during the performance.  The Barbican Theatre also requests more specifically not to use flight mode or Silent but to completely switch off your phone.  I do long for the locating technology similar to what will be installed in the Barbican Theatre in London so the ushers can locate violators.

I have renewed faith in "The Sleeping Beauty"as a ballet after finally seeing a version that was beautifully danced, visually stunning and made sense.

Other observations:

My prediction is that Natasha Kusch will be promoted to Principal after her final performance in Sydney.  This will be a marketing coup for The Australian Ballet with the diversity of multi-cultures in the Principal ranks of the dancers..

The Australian Ballet should produce a book about the process of creating "The Sleeping Beauty" with lots of photos of rehearsals and designs.