• Lana Jones, Adam Bull and Brett Chynoweth in The Dream. Photo: Daniel Boud.
    Lana Jones, Adam Bull and Brett Chynoweth in The Dream. Photo: Daniel Boud.
  • Brodie James, Amanda McGuigan and Richard House in Monotones II. Photo: Daniel Boud.
    Brodie James, Amanda McGuigan and Richard House in Monotones II. Photo: Daniel Boud.
  • Ako Kondo, Cristiano Martino, Robyn Hendricks and Amber Scott in Symphonic Variations. Photo: Daniel Boud.
    Ako Kondo, Cristiano Martino, Robyn Hendricks and Amber Scott in Symphonic Variations. Photo: Daniel Boud.
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The Dream: Australian Ballet -
Opera Theatre, Sydney Opera House, 30 April -

With a triple bill of works by choreographer Frederick Ashton, this program successfully showcases the Australian Ballet’s (AB) dancers in both abstract and narrative form. The opening ballet, Monotones II, is set to Erik Satie’s well known Trois Gymnopedies and Ashton’s choreography mirrors the haltingly dreamlike languor of Satie’s score. From the opening tableau these dancers, clad in white unitards and moving with slow control, could have been marble statues from ancient Greece brought to life. To an onlooker the movement may appear deceptively simple, but Monotones II requires a tremendous amount of muscular control and endurance from all three dancers. For the most part Amanda McGuigan, Richard House and Brodie James exuded calm and serenity, only occasionally letting the strain of physical effort show through. Although it is not one of Frederick Ashton’s most celebrated works, the cool beauty and serenity of Monotones II justified its inclusion in the program.

Symhonic Variations is similarly abstract but much brighter in mood than Monotones II. Ashton’s choreography begins with regal calm but builds to a climactic ending of overflowing joy and optimism that is paralleled by the increasing speed and vivacity of the dancers’ movements. In the central female role originally created for Margot Fonteyn, senior artist Robyn Hendricks (ably partnered by Cristiano Martino) used the aristocratic lines of her limbs to command attention and maintained an aura of authority throughout the work.

Although Symphonic Variations is twenty years older than Monotones II, it looks comparatively more modern. No doubt this is in no small part due to Sophie Fedorovitch’s striking combined set/costume design. The back drop is purely linear - featuring a series of curved parallel lines somewhat mathematical in appearance, while the asymmetrical hems of the women’s skirted leotards complement the diagonal cut of the male dancers’ one-shouldered unitards. In terms of lighting design, Monotones II and Symphonic Variations are at opposite ends of the spectrum. Where the vivid blue used in Monotones II adds dramatic depth and focuses attention on the dancers’ white clad figures, the warm yellow tones used for Symphonic Variations help to open up the space.

The final work, Frederick Ashton’s narrative ballet The Dream was the unequivocal highlight of the evening. There was so much to love about it, from the way it distils the complex plot of Shakespeare’s A Midsummer Night’s Dream into one act, to the humour, drama and depth of characterisation implicit in Ashton’s choreography. There are a considerable number of varied soloist roles in The Dream and for a company of the AB’s size this gives relative newcomers a chance to step up and show their skills. On this evening Christopher Rodgers-Wilson as Bottom, and Jill Ogai as Moth both stood out. The principal roles of Titania and Oberon were ably danced with the requisite hauteur by Lana Jones and Adam Bull but they were outshone by Brett Chynoweth as Puck, who completely embodied the character’s mischievous sprite-like charm.

- GERALDINE HIGGINSON

"The Dream" plays the Sydney Opera House until 16 May.

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