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. 

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.

20:21, Australian Ballet, State Theatre, Wednesday September 2nd 2015

20:21, Australian Ballet, State Theatre, Wednesday September 2nd 2015

The Australian Ballet have provided a superb night of dance with "20:21" showcasing three different choreographers.

"Symphony in Three Movements" by George Balanchine is a clever use of space, groupings and technique.  Music by Stravinsky screams for movement and ballet.

This ballet has a large ensemble of women who provide beautiful shapes that melt into a Mexican Wave of port de bras.  This would be more effective if some of the women held their core sufficiently to support the strong position of their arms to create the lyricism of the overall movement.

Another example was a young lady whose arms were flapping while most were held steadfast.  This became an issue when groups changed positions in opposite directions.  Due to her arms not being held created a slight collision as the dancer in the opposite direction was running headlong into the arms of this other dancer.  It is not a complaint but shows how difficult it is for 16 dancers to maintain port de bras positions, and to create seamless synchronisation.

I really enjoyed the ballet with its angular movements.  I must commend Natasha Kush who had intensely angular wrists that looked like Samson holding the pillars apart.  The final tick or kink in her foot when in attitude derrière detracts from her line and highlights the inconsistency with the other dancers.

The colour scheme for the costumes is flattering and provides the audience with an ease to watch the details of the choreography.

I look forward to this ballet being repeated in future seasons.

"Filligree and Shadow" is a new work by Resident Choreographer, Tim Harbour.  Set Design is by Kelvin Ho and mainly consists of a curved wall upstage which is striking.  There is not enough room for the dancer's entrances either side of this curved wall as the dancers appear to squeeze through the narrow gap.  This is particularly obvious with the broad shouldered men.

The Lighting Design by Benjamin Cisterne and highlights the shadows and and spotlights with dramatic effect.  While the lighting works, it feels discordant with the black costumes as you cannot see the choreography at times.  This is at its most frustrating when there is intricate moves in dark shadows upstage.  I wonder if a another colour costume with the shaded two tone tights would be more effective.

Choreographically there are some exciting phrases.  At other times there are two and three different phrases occurring and work when the lighting is conducive, but fail when in shadow as you cannot see properly.

Some of the partnering was confident and at times it appeared hesitant.  With more performances the dancer's confidence will grow - knowing that this is a great addition to the contemporary repertoire of the Australian Ballet.

The final work of the evening is one of my all-time favourite dance pieces, "In the Upper Room" to a score by Philip Glass.  What a wonderful celebration for Twyla Tharp who is celebrating her 50th year of creating dance.

I have been blessed to have seen this work five times prior to this viewing. Once by Twyla Tharp's company in Melbourne.

The Australian Ballet dance this ballet with zest, verve and gusto.  A last minute replacement with the the deletion of Chengwu Guo gave the performance a new edge.  For a replacement whether scheduled or not gives the audience food for thought:  Was it planned? Was Chengu injured?  Has the dancer worked with this cast before?  It created an adrenalin rush for me, and thank you for the excitement.

I do not care that there were a few slips and misjudged lifts as this is the pinnacle of aerobic dance. These dancers are masters of their craft and dance a near marathon.

The only thing that I did not witness was the funky looseness of Twyla Tharp.  I wanted a little more coolness or fun.  Though I do qualify this as they had a replacement dancer and no wonder they may have been a little on edge.

For this, my sixth viewing, I had tears in my eyes for the first time. I had tears of joy at the Bomb Squad who are the most perfect I have seen dance these roles.  Their purity of line and precise technique juxtaposed the funkier moves of the other dancers.  I think it was Ako Kondo and Miwako Kubota who excelled in these roles.  Thank you for my making my heart soar and my body have an out of body experience.  This has only occurred in about ten performances in 50 years of viewing theatre.

The Stompers who begin and create an atmosphere of anticipation with their playfulness, mirroring and retrogrades.  They also conclude the dance work with the same playfulness, mirroring and retrogrades.

Each viewing provides an opportunity to see new aspects of the piece.  I love Twyla Tharp's homage to so many genres of her training, including cheer leading and tap dancing.  I particularly love the "shuffles" and for the first time the tap "wings" stood out with accurate execution.

The final movement appears to be the whole ballet in fast forward.  It is as if we have the fast Forward Button and are controlling what we are viewing.  NO WITNESSING!  It is unforgettable perfection.

I am in awe of the dancers counting this complex music with its repetitive phrases.

I yearn for Triple Bills of this quality.  David McAllister has excelled with this superb Triple Bill that always provides more "dance" for your dollar!

Please bring back "Billy the Kid" by Aaron Copeland performed at the Palais Theatre in the late 1970s.

Overall 8.5/10

Cinderella, Australian Ballet, State Theatre, Wednesday June 24th 2015

Cinderella, Australian Ballet, State Theatre, Wednesday June 24th 2015

We saw this new version of "Cinderella" by Alexei Ratmansky in 2013 and it is good to see it again while our memories are clear.

We were meant to have the following A cast for "Cinderella" according to the Australian Ballet website:

Wednesday 24 June, 7.30pm
Conductor: Nicolette Fraillon
Cinderella: Madeline Eastoe
Prince: Kevin Jackson

Our cast was  instead:

Cinderella: Ako Kondo
Prince: Chengwu Guo

It was great to see this B Cast as they are a couple in their personal life as well.  This new couple are a dream for marketing purposes, as was previous couples within the Australian Ballet..  Both are usually sensational dancers of the highest calibre.

This second viewing within two years of the original in 2013 brings some positive and negative reactions.

The comedy was not up to the standard of my first viewing.  The timing was not as precise along with more defined characterisations of some characters.  It felt as if some of the characters were not projecting past the front rows of the stalls.

The least enjoyable aspect was the two women (mid to late 30s) sitting in front with their three children.  One would imagine that the children would be the issue.  Wrong.  Can you imagine one woman had the gaul to take out her mobile phone and continue to show her friend photos during the performance.  Yes it is true.  I leant forward and asked her "Please turn your phone off as it is very distracting."  How they huffed and puffed for the rest of Act One was so distracting.  I tried to watch the planets section of the ballet and they continued to chat amongst themselves.

At the first interval, I reported their inappropriate behaviour  to our local usher and then proceeded to report this to the Front of House Manager.  Both of the Arts Centre staff were very helpful.  By the time I returned to my seat my colleague said that the usher had spoken to them.

The two women were trying to send me up with their body language by mimicking texting and their over the shoulder glares at me.  It was a relief that they were vocally quiet for the remainder of the ballet after first interval.

They did not turn on their phones for Act Two.  During the second interval she had the audacity to theatrically show her lurid photos making sure that we got to see herself wearing a thong and sitting with her back on an exercise ball.  Obviously she was proud to show off these revealing shots for all of the men and women to see.  I am curious if these women received complimentary tickets courtesy of the main sponsor of the Australian Ballet.

The staff of the sponsors of the Australian Ballet have a responsibility to represent their company in the best possible light.  They should be role models and turn off their phones and not put their feet up on the seats etc.

I have advised the Australian Ballet of my concerns as the sponsors are certainly jeopardising their value for money if their staff behave in a inappropriate manner.  These sponsor seats are sometimes relished and honoured as a treat to the staff.  Other times the staff attend with utter disdain.

Is it a coincidence that we had another fall on stage during another mobile phone incident?

The costume designs by Jerome Kaplan are beautiful allowing the audience to view the line of the dancer's body with the flow of the fabric.  Sometimes costumes do not do justice to the expense of the fabrics as the audience may not see the detailed textures of the fabrics.  Here the fabrics chosen have different weights and textures which come across to the audience to highlight the different characters.  I particularly like the ball room suits with their metallic fabrics.

Set designs, also by Jerome Kaplan blend and balance his beautiful costumes.  I really love the backstage atmosphere of the theatre in the opening scene which is reminiscent of backstage shows like "Gypsy."  His designs for the ballroom scene are exquisite and reminds me of the grandeur of Cranko's "Romeo and Juliet."

While I recall the ballroom scene the choreography of the latest dance moves section, reminds me of a combination of John Cranko's "Romeo and Juliet" with Pina Bausch's "1980" conga line.  Pina Bausch uses lots of gestures in conga lines as in the film "Pina" - where they gesture the four seasons of spring, summer, autumn and winter.  You may wonder how they are similar.  Alexei Ratmansky has a cheeky fun, contemporary, cliquey style to the ballroom scene.  Alexei Ratmansky's cliquey style juxtaposes the dance styles of Cinderella's Stepsisters and Stepmother.  This section is so clever on a second viewing and is a ballet version of synchronised group dances like the Macarena, Time-warp and boot-scooting.

Cinderella's Stepsisters and Stepmother perform their embarrassing solos and the other guests politely applaud with occluded jaws and tight smiles,  The choreography is not only the dance steps, it is also requires these fine dancers to work their costumes to humorous effect.   Skinny Stepsister (Ingrid Gow),  Dumpy Stepsister (Eloise Fryer) work well together with Cinderella's Stepmother danced by Valerie Tereshchenko.  Some of the the timing of the comedic sequences was not as slick as in 2013 resulting in the original jokes were not as funny.

The Prince takes Cinderella out onto the terrace.  The set and lighting design is superb with the rolling away of the pillars to reveal the terrace and the full moon rising.  The hedges roll in as if the trees from Disney on Parade's "Alice in Wonderland" or as if the haunted forest from Disney on Parade's "Snow White" section.  The hedges become the ticking clocks for the imminent approach of midnight is such a lovely surprise.  The moon becomes the clock chiming midnight.  Such a magnificent tribute to the artistry of Salvador Dali.

The pas de deux by the Prince and Cinderella was magnificent.  Ako Kondo is such a superbly beautiful technician.  More so, she is an artist of the highest calibre and it was such an honour to witness her in this seminal role.  She nailed it particularly in this pas de deux.  While Chengwu Guo is usually at the top of his game, here he had a few moments where his lifts were not so self assured.  This is not a criticism as he is normally so perfect, it was wonderful to see this genius show some human frailty or struggles.  They were not major issues for us as an audience, more of a surprise as he is such a perfectionist and one of the greatest male dancers I have ever seen dancing live.  I am sure with more performances he will find the ease and timing of some of the lifts.

Overall the timing of the comedy was not as slick as when I saw the original staging in 2013.  One of the few moments that was as funny was the hairdressers sequence at the start of Act One. This scene is a combination of the choreography, costumes and wig/props.  The artistry of the performers is crucial in projecting their characterisations to the back of the theatre and maintain good technique.    As the hairdressers Calvin Hannaford, Shaun Andrews and Luke Marchant admirably accomplished all of these requirements to create a funny scene with the lead female characters.

The Stepsisters and Stepmother are fun and not as nasty as in other film or stage versions.  They represent a selfish group of people, yet we can see through their transparent behaviour and they are endearing in their hedonism.

The role of the Fairy Godmother danced by Lynette Wills seemed to be cut down from the original staging of 2013.  Other people I spoke to had the same recollection.  Though Lynette Wills danced the role well, it seemed as if there were missing moments -particularly in the interaction with Cinderella.  If the role was not cut down, then the impact of the Fairy Godmother was not as theatrically memorable.

The tribute to Salvadore Dali is highlighted with the surrealist designs of the moon turning into the midnight clock and topiary trees that became timepieces.  The use of the planets instead of the mice and coach is also another astrological tribute to Salvadore Dali's surrealism.

I was very keen to view the segue to the start of the planets sequence to see if it worked.  Sadly our rude ladies in front pulled out their mobile phone to check their social media.  Just these few seconds interrupted my viewing experience.  So I look forward to seeing "Cinderella" again in the future.

I would like to see the souvenir programme include the year on page three of each edition.  It does state the Melbourne dates without the year 2015.  For collectors of the ballet programmes, the Artistic Director's introduction does not even mention the year.  I love the photos of the planets in the programme and would love each costume to have a single photograph in future productions and programmes.

My favourite part of this performance of "Cinderella" was Ako Kondo who was framed by the ever reliable Chengwu Guo.  I look forward to their partnership in future productions.