"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.
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"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.
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.
