The Australian Ballet: "50th Anniversary Gala" -
State Theatre, Arts Centre, Melbourne, 31 October -
For lovers of the classical idiom, the Australian Ballet's “Gala”, offers a substantial program of pas de deux from a range of ballets, introduced and ended by full-company works. As a celebration of 50 years of the company, it seemed to promise everything a ballet lover could wish for, traversing the traditions of classical, romantic and modern ballet styles and showcasing a number of international guests. Disappointing, though, was the cursory gesture toward current choreographic works, represented by only two items. However, the opening night audience seemed well pleased with the program and this is, after all, a classical ballet company.
On opening night, ten international guests performed, two of them partnered by artists of the Australian Ballet. These balletic snap-shots were taken from a mix of well-known works including Giselle, Swan Lake and Don Quixote with a number of twentieth century ballets in the classical style (Carmen Suite, Manon and Balanchine's Tchaikovsky pas de deux) as well as two works with a more contemporary flavour, Little Monsters and After the Rain.
The second part of the program, danced by AB, was Etudes. A mid-twentieth century work, it references the classical and romantic periods of ballet while also incorporating many elements of daily class work. It is a work built around the technical elements of ballet as indicated in its title (studies). Enjoyment of this work depends on the degree to which one enjoys watching aspects of classroom practice being transformed into choreography. It achieved virtuosity at times but left the impression of being a pleasant ballet that felt somewhat inconsequential.
“Gala” achieved both triumphs and disappointments. The pas de deux allowed the female dancers to shine, as is their purpose, but this had the effect of mainly leaving the males in the shade. On opening night, partnering was not always confident, adding to a feeling that the masculine aesthetic was not as strongly present as might have been. This was particularly noticeable in the Giselle (National Ballet of China) and Carmen (Tokyo Ballet) pas de deux.
Absolute highlights were the two works danced by Elisa Badenes and Daniel Camargo from Stuttgart Ballet. They led the series of pas de deux with a recent work by Demis Volpi called Little Monsters. Accompanied by songs of Elvis, the pair begin a dialogue of subtle gesture. Badenes, obscured behind Camargo, manipulates his arms invisibly, gently lifting and letting them go. The movement is liquid and mesmerising. The work builds with comic turns as the hands become impatient, suspended lifts give a sense of weightlessness. A jazzy, cheekier section provides contrast.
Badenes and Camargo also danced Don Quixote wedding pas de deux with technical brilliance and verve. Their precision and interpretive aplomb made them a compelling couple and this version of Petipa's choreography allowed Camargo to showcase the range of the male dancer's capabilities. As such, he embodied both strength and refinement and dazzled with generous expressivity and exquisite control.
Other highlights included an excerpt from Wheeldon's After The Rain, interpreted superbly by Amber Scott (AB) accompanied by Damian Smith of San Francisco Ballet. The fragility and delicacy of this work was captured beautifully as one movement unfurled and dissolved into the next to the delicate score. There did, however, seem to be a lack of rapport between the two, with Smith very workmanlike in his partnering.
Lana Jones and Kevin Jackson impressed in the Balanchine, with lovely, elegant expression from both and a real lightness from Jones. This work also allowed for considerable spectacle, with each pulling out the best of ballet's bag of tricks in their solos.
“Gala” was clearly designed to be a crowd-pleaser and a celebration of the national company's achievements over 50 years. In this it succeeded. But in taking this path, the company lost its chance to break any new ground. There was certainly nothing to alienate a general audience in this program but it lacked challenge and boldness.
- SUSAN BENDALL
Top image: Artists of The Australian Ballet in Etudes. Photo by Jeff Busby.