The Dream, Australian Ballet, State Theatre, Wednesday June 10th 2015

The Dream, Australian Ballet, State Theatre, Wednesday June 10th 2015

The Australian Ballet presented a triple bill of works by Sir Frederick Ashton.  Two were more successful than the third.

"Monotones" was my favourite work of the evening.  We were entertained by what I think was the B Cast.  Amanda McGuigan is so supple and this flexibility is a pre-requisite for the choreography as she was dragged, spun and postured into extreme positions.  Some of these positions were en pointe and Amanda McGuigan held these definite positions with strength, grace and dignity.  The men were like the frame to her pictures.  They too became the picture with such masculine poise and assurance.

"Monotones" reminded me of the Ruth St Dennis musical visualisations, as the choreography sang from the first movements with the musical score by Erik Satie.

Occasionally there was a dent in their lines as the wrists were not consistent in their requisite angularity or softness.  One of the males had a wider fifth en haut position and it jarred from the other two.  Congratulations to the cast also comprising Brodie James and Richard House.

I have seen the second ballet "Symphonic Variations" both on film and by another company many years ago.    "Symphonic Variations"  was the least satisfying work of the evening for a number of reasons.  Firstly, it was most of the dancers first night performance as an entire cast together.  They were either the E or F cast (depending on how you read the cast lists on the Australian Ballet website.)  Secondly, the clarity of the choreography at times seemed very vague, particularly the sharp changes of direction.  At times, it was quite messy to say the least.  Thirdly, the footwork was sloppy and ill-defined at times.  I appreciate that the footwork is tricky but it looked very under-rehearsed at times.  I wanted crispness and definition and confidence at all times.

It was great to see Christiano Martino sporting his hairy chest rather than the fashion of shaved chests.  He was a terrific partner and will make a great Spartacus in the future due to his robust masculinity, strength and assurance.

The most obvious and glaring moment was the devellope to arabesque by Natasha Kusch with a sloppy foot that finished with the pointed foot on the extension.  But then there is more!  Not the steak knives!  No, the kink of the foot (the cheating sickle) to give the impression of the longer line.  I would have preferred a cleaner devellope with a pointed foot all of the way rather than the added punctuation mark!  This jarred and emphasised that her style looked of place to the other dancers. Sir Frederick Ashton has a particular lyrical style that all dancers need to comply with.

Musically the timing of the port de bras varied between the dancers.  Some were on the beat, others slightly behind and one lagged behind the other dancers with their port de bras.  This was not a canon!  It was more like a stutter as the timing looked wrong.

I have seen these dancers in better form and know that they will all become cleaner with their execution.  One not so good performance does not make you a bad dancer!  You are all exceptional dancers and I would be remiss if I did not call it honestly as I saw it. It just looked under rehearsed.

Oh yes and who can forget our regular TWANKERS in the Stalls with their mobile phones?    Bored darlings?  Why bother coming to the ballet to show everyone your photos during the performance?  The lighting cue change is for the lighting technicians not for the our resident TWANKER! The light flashes and distracts us in the Dress Circle.  But sorry ladies it is all about you in D Row in the stalls.   I reported this to the Dress Circle usher and sadly this D Row Stalls violator continued during "The Dream."

I have been fortunate to see "The Dream" many times over the years both on film and live.  There were some great performances and a few wonderful surprises.

The first surprise is the cover of the programme.  Where was this costume in the production?  Neither my partner, myself or our regular neighbours recognised this advertising logo for the ballet.    There was a paler green costume worn by Oberon but nothing like this photo.  It seems a little deceptive.  Oh but they call it marketing!

We were entertained by the B Cast.  Lana Jones was exquisite as Titania and was ably supported by the coryphee,  Jared Wright.  What a terrific partnership and we are so honoured to see this young man develop and support such a sublime Lana Jones.

The fool proof role is Puck which is a fun role but requires superb technique to master some of the complex jumps.  Brett Chynowyth danced superbly as Puck with his spiritedly cheekiness and well defined characterisation.  Brett's ronde de jambe en 'lair saute were clean, crisp and bouncy. Brett has a tennis ball accuracy to his ballon.  His batterie was clean, sharp and accurate.

I have seen a young man develop over the years.  In his early days in the corps de ballet Jacob Sofer had a stiffness.  Now, Jacob Sofer commands the stage as if he owns it.  His body stiffness went years ago and he now dances with pure confidence and assurance.    A joy to watch particularly with his comedic timing.

The first couple Lysander (Rudy Hawkes) and Hernia (Dimtry Azoury) were terrific.  Alongside the unhappy Helena (Natasha Kusen) and Demetrius (Jacob Sofer) provided some of the funniest moments of the night.  These four dancers worked together to create such wonderful memories with their comedic timing and beautiful character dancing.   These fine dancers had the audience in the palm of their hands.

I have seen Bottom danced well before.  Christopher Rogers-Wilson did not dance Bottom well.  He danced the best Bottom I have ever seen with his distinctive characterisation.  Christopher Rogers-Wilson became the donkey and the pointe shoes made more sense as they became his hooves,  rather than the awkwardness of the bravado of another trick.  His dancing was pure masculinity without the campiness of "Les Ballets Trockedero."

At 8.45pm our lady in the stalls had to check her mobile phone and write a message or a note.  The lights flashed as she held up her phone.  Yes it was distracting and she was obviously bored by the two short solos.  One of the dancers in the corps de ballet had a fall around this time.  I hope that this young dancer is okay and she was brave enough to get back on her feet and continue to dance.

Unlike our D Row TWANKER who distracts the stalls and the Dress Circle.  I wish this TWANKER had the discipline, let alone the courage and bravery of the young dancer who fell,   Please just switch off your mobile phone for the whole performance.  You are such a rude person to annoy those around you.

My heart goes out to this brave young dancer who fell.  You enriched the performance with your determination to be a team player and continue.  I hope that you did not hurt yourself.  I also wonder if the selfish checking of the mobile phone in D Row stalls (our resident TWANKER) distracted any dancers.  It is high time that the Australian Ballet and the Arts Centre Melbourne were more vigilant in ensuring that the public turn off their mobile phones and iPADs etc.  This can be dangerous as that sudden flash of light can catch a dancer's eye as they are spotting to make a turn etc.

I am an advocate for appropriate use of mobile phone in appropriate settings.  I am against inappropriate use, as I am concerned about for respect for others.

The Australian Ballet was not at their best with this programme.

'Monotones" 7/10
"Symphonic Variations" 5.5/10
"The Dream" 6.5/10