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.

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"!

The Nutcracker, Australian Ballet, State Theatre, Wednesday September 18th 2014

The Nutcracker, Australian Ballet, State Theatre, Wednesday September 18th 2014

This production of "The Nutcracker" premiered at the Birmingham Royal Ballet in 1990.  The Australian Ballet premiered this production in 2007.  "The Nutcracker" provides audiences the thrill of a classical narrative ballet.  It also provides the magical opportunity for many new dancers to realise a dream to dance in "The Nutcracker."

"The Nutcracker" is an iconic narrative crowd pleaser ballet.  This version choreographed by Peter Wright, Lev Ivanov and Vincent Redmon brings such joy to many people for its spectacular sets, memorable music and clear story telling.

The magnificent sets and costumes by John F. Macfarlane provide the icing on the cake for the dancers to physically immerse themselves.

We were advised that filming was to occur at this performance.  I am sure that there will be some severe editing from this performance to cover up some technical issues.  However, I am sure that they have filmed multiple performances and will edit accordingly.

Act One focuses on the Christmas festivities with the focus on Clara receiving her Nutcracker doll which is broken by her brother, Fritz.  Clara was danced beautifully by Benedicte Bemet showing off her innocence and exquisite lines.  Fritz danced by Ethan Slocomb won the audience's hearts with his boyish cheekiness.  The audience giggled and laughed at his antics.  His facial expressions and miming carried through the theatre, while some adults miming was not as clear.

The magic of the production was marred by some minor technical issues including the silver bauble which did not stay on the tree and that a stage hand had to retrieve.  There were four dancers who could have picked up the bauble without us noticing as if were part of the action. Why didn't any of these two couples pick up the bauble and put it back on the tree?  By pretending to ignore the bauble they highlighted its presence.  They lost an opportunity to maintain the reality of the festivities and thus took us away from the fantasy. 

Later, in Act Two, during the Spanish trio, one male dancer did not manage to throw his hat off stage completely.  As the trio exited stage left, he kicked the hat off stage.  Why didn't he reach down to scoop it up as he exited?  This would have been a natural action and kept the flow of the movement.  His "soccer" kick scored a goal through the tabs and highlighted the presence of the hat as an error.

Kevin Jackson can on occasions over extend his foot pointing and curl his toes under, in contrast to standing next to the other male dancers.  It jars against the lines of the other male dancers.  He is such a fine dancer and this takes away from his majesty.

The mother's solo in Act One was danced beautifully by Ingrid Gow.  Though, it is such a wasted piece of corny choreography, as we can only see her port de bras and it is as if she is being wheeled on a "truck" and the dress follows suit. I guess her fluidity of footwork created such an even skateboard effect.

Some of the girls in the "Waltz of the Flowers" sequence need to roll through to en-pointe and to use less shoulders.  It appeared that some were "heaving" themselves onto pointe and takes away from any opportunity to look light.

Some of the aspects that I relished follow:

The characters were more well defined in Act One than when I had seen previous performances.  Some of the miming was more explicit for some characters than others.  The levels of miming needs to be consistent with all dancers.

Brett Chynoweth as Clara's dancing partner, showcased his pure technique and his strength.  I love his precision and his lines that extend into the wings.  He supported Benedicte Bemet and they danced in concert.

Another highlight included Robin Hendricks in the Arabian dance ably supported by John-Paul Idaszak, Mitchell Raynor and Cristiano Martino. The four danced in unison and created strong angular lines in their port de bras, which were missing in 'La Bayadere."  These three fine men admirably ensured that Robin Hendricks was the centre piece.

Laura Tong is such a distinctive dancer with strong features and magnificent technique and fine artistry.  Laura's Snow Fairy at the end of Act One was beautiful and she has a lightness and weightlessness is something that other dancers could learn from.  She is such a fine presence and her slip on the snow did not faze her.  Her steely technique and artistry would not be conquered.  She reminded me of some Russian prima ballerinas that I have been lucky to see in the 1970s.

The finale to Act One had two rows of  ladies in a diagonal to the upstage right corner.  Their pose in epaulment provided such a conclusive and everlasting image. The consistent lines were sheer magic.

The Rose Fairy Consorts in Act Two were danced with strength and masculinity by Rudy Hawkes, Brett Simon, Jared Wright and Brodie James. I enjoyed their unity in musicality and creating an atmosphere.

The music was played well as led by Nicolette Fraillon who seemed more theatrical, precise and emphatic in her gestures.  There was a camera in the orchestra pit.  Was her performance also to be filmed?

Some of the dancers appeared out of time on occasions, or, the choreography grated and did not lend itself to the music.  At times the choreography did not flow with the music and reminded me of poor synchronisation as in a dubbed Sunday afternoon "Epic Theatre" film.

The pas de deux with Madeleine Eastoe and Kevin Jackson was sublime.  He is a powerful man and supports her to showcase her ethereal qualities.  He has such beautiful ballon and appears to float in the air.  He is such a masculine dancer and makes Madeleine shine, shimmer and glow with his assured partnering.

Over the years, I have seen this production three times and it still bothers me that during the final transition to the main set, that the two red chairs are missing.  I understand that they will get in the way for the final curtain calls, but they could quickly be whipped off-stage by some able stage hands.  This is a minor annoyance that reeks of continuity errors in your favourite movie.

Having seen this production of "The Nutcracker" three times now, the characters have become more defined, but the production needs to overcome some technical issues that I have not seen in prior productions.

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.