Queensland Ballet: Strictly Gershwin

Queensland Ballet: Strictly Gershwin
Lyric Theatre, QPAC, 27 May

With more than sixty dancers, four guest vocalists, and a concert pianist and big jazz orchestra, also live on stage, Strictly Gershwin delivers all the razzle-dazzle of early 20th century Broadway and Hollywood in a glittering celebration of the incomparable songs of George and Ira Gershwin.

Originally conceived and choreographed by Derek Deanne for the English National Ballet (ENB), this is the first time the work has been seen outside Britain and showcases Queensland Ballet (QB) in a new light. It relies heavily on the dancers’ embrace of the various nuances of the Broadway musical style, but is also technically demanding, with jazz rhythms needing pinprick accuracy of timing to be visually effective.

The overture, a pastiche of Gershwin classics played with crisp, up-beat classiness, set the bar high, with the conductor, Olivier Award winner Gareth Valentine, performing some light-hearted sashaying moves of his own. It was the precursor to an evening where the music ruled – brilliant orchestrations skilfully delivered, bringing a freshness and zing to all the old favourites.

Essentially a series of thematically grouped ‘numbers’, Strictly Gershwin is divided in two according to the music’s association with either Broadway or Hollywood. It is a beautifully balanced program that gathers momentum towards its show stopping “Fascinatin’ Rhythm” finale, with moments throughout that linger long after curtain down.

In “Someone to Watch Over Me” vocalist Alexandra Flood was so much more than an accompaniment to dancers Lina Kim and Rian Thompson. They in turn were perfectly paired as young romantics, embracing the syncopated rhythms, while catching the breath in the music with light as a feather lifts.

“Shall We Dance”, also in the first half, captured the glamour and elegance of 1930s Hollywood, in a big ballroom number of silver and black lusciousness. Softly restrained, bent-elbowed arm movements, over the top epaulement and arched lunges brought the era to life, led by Clare Morehen and Christian Tatchèv (making a welcome return for the season).

Yanela Piñera and the recently retired Matthew Lawrence were sublime in “The Man I Love”, sung by Rachel Beck. Piñera’s falling off balance poses, caught just in time, but with such ease, by Lawrence, showed his still formidable partnering skills.

The tap numbers (requisite in a work like this) were choreographed by Bill Simpson who, together with Kris Kerr, brought the house down in the duet, “Fascinatin’ Rhythm”. Unfortunately the tapping was over amplified, but rectified later in “Lady Be Good”, as Rachael Walsh (also as guest artist), tapped up a storm. Channelling Eleanor Powell with pizzazz and her incomparable style, and partnered by Kerr and Simpson, Walsh’s slick delivery of the beguiling classic was a highlight.

“An American in Paris”, making strong references to the modernist ballet of the film, had Mia Heathcote, delightful in the Leslie Caron role, while Shane Wuerthner perfectly captured the rather bewildered excitement of the Gene Kelly character.

In contrast the classicism of tutus and tights met jazz in “Rhapsody in Blue”, brilliantly played by pianist Daniel Le. The twenty dancers, sparkling in deep blue velvet and led by Piñera and Victor Estévez, performed the uncompromisingly sparse movement, including triple turns into arabesque, split jetés, and the final spectacular presage tableau, with poise.

“But Not for Me”, a romantic classic, was rendered even more so by harp, strings, and the glorious harmonies of vocalists Michael Falzon and Luke Kennedy, while Laura Hidalgo and Joel Woellner were mesmerising in a languid pas de deux to the Porgy and Bess favourite, “Summertime”. Hidalgo seemed almost boneless, and with Woellner’s seamless partnering, it made this poetic pas de deux heart stopping to watch.

Strictly Gershwin has a winning formula underpinned by the composer’s brilliance. The few small opening night wrinkles are sure to be gone by the sell-out season’s end. I hear rumours of a rerun in 2018. If so, book early as it’s not to be missed.

– Denise Richardson

Strictly Gershwin plays until 4 June.