Form And Function In Perfect Balance
The Age
Tuesday September 2, 2008
INTERPLAY
The Australian Ballet, State Theatre, the Arts Centre August 28, until September 8 Running time: 120 minutes www.australianballet.com.au INTERPLAY is a triple bill of new ballets, focusing on the interaction between choreography, composition and design. Night Path, choreographed by Stephen Baynes, is a mysterious piece set in the world of the subconscious. It follows a woman - exquisitely danced by the ethereal Madeleine Eastoe - as she floats impassively through dreamscapes, surrounded and supported by a small but excellent cast. Leanne Stojmenov, Daniel Gaudiello and Tzu-Chao Chou are brilliant in their jazzy trio, while Andrew Killian as Eastoe's main partner is both tender and strong. Using non-traditional yet elegant shapes, the choreography is carefully structured and closely allied to the music, composed by Richard Mills. Michael Pearce's stunning design enhances the work with its flattering costumes, draped fabric backdrops and delicate tree branches suspended above the stage. Matjash Mrozewski's Semele is based on classical technique, but uses a wide movement vocabulary to express the mythical narrative. The cinematic score by Gerard Brophy helps to build the drama, assisted by Adam Gardnir's evocative yet simple design.The gods Juno and Jupiter dance a restrained yet powerful duet, performed by Olivia Bell and Robert Curran. There's a sustained sense of possession as Bell sinuously extends her long limbs, intimately entwining them in subtly controlling embraces of her husband.Meanwhile, the illicit love scenes for Jupiter and mortal Semele, danced by Juliet Burnett, are arranged with seemingly endless positions for creative lovemaking, yet even their kisses are executed without passion. While technically sound, Curran and Burnett's characterisations are unfortunately weak in comparison with Bell's, who is outstanding as the imposing, jealous goddess.The most abstract of the three ballets, The Possibility Space by Nicolo Fonte, is busy and modern. Set to an incredibly difficult score by Ross Edwards, Fonte's convoluted choreography echoes the constantly changing rhythms and melodies of the music. There's a sumptuous moment of clarity when the ensemble performs a languid adage, perfectly suited to the breathy strings of the accompaniment, yet it's all too brief. In chaotic solos, duets and trios, the dancers rotate their hips, shoulders and elbows while performing demanding leaps, turns and balances, often at breakneck speed. Combined with Markus Pysall's kingfisher-blue costumes, a black set and bright white lights, the detail is overwhelming. In what is a risky program, the gamble has mostly paid off because of the high calibre of artists involved and some fine performances by the dancers.
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