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.