Elastic Hearts – Queensland Ballet x Sia
4½ Stars
In a bold and brave move, Queensland Ballet has brought pop music and high art together in Elastic Hearts — a world premiere collaboration between Sia and choreographer Garry Stewart. What began as Leanne Benjamin’s brainchild has evolved into a wildly imaginative production that dares to blend the worlds of contemporary pop and ballet with unashamed flair. Under the artistic directorship of Ivan Gil-Ortega, the company has taken a risk — and it has paid off brilliantly.
From the very first moment, this was no ordinary night at the ballet. The curtain rose to reveal a minimalist yet striking stage, dominated by a large illuminated backdrop and what appeared to be Gaia — Mother Nature herself ( Georgia Swan) — perched above, dressed in a magnificent “grandmas Doona”inspired gown embroidered with native Australian animals. Later in the night, This breathtaking haute couture garment unfolded across the stage like a living tapestry of Australia’s landscape, grounding the work in both national identity and creative imagination. Swan had some beautiful moments and did lovely things with her role.
From there, things got wonderfully wild. Dancers came sliding down from Gaia’s form, dressed in Asian-inspired tops, flowing pants, and red Pumas — an unexpected and daring costume choice that worked beautifully in Stewart’s vision. This all could easily have looked awkward or out of place on a ballet company, however Queensland Ballet’s ensemble embraced the style wholeheartedly. Their versatility — the product of training across classical, contemporary, jazz, hip hop, flamenco, and character techniques — was on full display. All students wanting to be professional ballet dancers and Ballet teachers should take note of this changing landscape.
From the opening sequence, it was evident how vital versatility has become for today’s classical dancer. These artists didn’t just perform the choreography; they lived it. Their energy radiated outward, their smiles were genuine, and their joy utterly contagious. That connection between dancer and audience — that visceral energy — is precisely why we go to the theatre. You can’t get that feeling from a screen.
The set, while minimalist, appeared refined and expensive, elevated by exquisite lighting from Alexander Berlage and imaginative design. A giant heart surrounded by flowers pulsed and bloomed with Gaia’s touch — a stunning visual metaphor for rebirth and connection. The blonde wigs worn by all dancers removed any sense of gender, directing focus purely to the movement and the feeling conveyed. It was clever, powerful, and deeply human. The arms stood out and especially the muscle tone was impressive, male and female.
As the performance unfolded, a sense of celebration took hold — of Sia’s music, her artistry, and what she represents as an Australian creative force. The music, beautifully arranged by Elliott Wheeler and performed by the Queensland Symphony Orchestra under the baton of Nigel Gaynor, was lush, cinematic, and full of emotional depth, even as a recording. The orchestral arrangements amplified the soul of Sia’s songs while allowing Stewart’s choreography to breathe and soar.
A particular highlight was the arrival of glowing pink chandeliers descending from the ceiling — I had a feeling… and then, to the audience’s delight, the dancers climbed aboard and swung out over the crowd just as the song suggests. It was an exhilarating, joyful moment that drew laughter and applause, perfectly capturing the sense of simplicity, fun and theatricality.
There were equally powerful moments of calm. An acoustic version of Titanium — a song that Sia performed so passionately in a tribute to the Orlando tragedy in America — became a poignant centrepiece. A sheer curtain with Australian flora stretched across the stage, with dancers moving between the fabric, evoking reflection. While this section was beautifully conceived and visually stunning, I found myself longing for a deeper emotional connection to the vulnerability inherent in the song’s history. A touch more stillness and reflection could have elevated it from beautiful to absolutely transcendent.
Throughout the night, the dancers gave everything — their energy, their heart, their joy. Two male solos stood out for their incredible elevation, power, and seamless floor work, while a quartet of female dancers delivered an intricate, unified, fast-paced tutting sequence that was met with spontaneous applause. Every performer brought vitality and sincerity, their commitment unmistakable. Not many ballet dancers could achieve this look believably. Congratulations Dancers. I was looking for the cracks in their smiles to see if it was genuine, but it really was, They were really loving it.
This was also an important night for Queensland Ballet as a company — a statement of bravery and evolution. To place classically trained dancers in such an avant-garde, pop-infused setting is no small feat, yet they thrived in it. They looked free, unguarded, and completely engaged — as though showing us their truest, most colourful selves.
The closing scenes tied the experience together with heart and humour. Flags, giant bows, and playful props filled the stage in an explosion of colour and movement. The production’s unapologetic embrace of the absurd made for an exhilarating finish. When the curtain finally fell, the audience rose instantly to its feet in a long and enthusiastic standing ovation. Job well done!
Following the performance, celebrations spilled outside, where the Queensland Ballet dancers continued to dance with the audience who wore a sea of Pink that night in support of the show. And under the night sky — the joy of the show extending into real life. It was a fitting close to a night defined by connection, energy, and courage.
Beyond its spectacle, Elastic Hearts also held a quiet patriotism. Through Gaia, Australia’s nature and identity were presented with reverence and pride. It reminded us of who we are and what makes our culture unique — a land defined by resilience, beauty, and creativity. And we are so proud of Sia, for me she was the only thing missing from the night and by the looks of things she might approve and would one day want to take this further!
Elastic Hearts was unapologetically fabulous — a fusion of ballet, pop, and theatrical invention that proves contemporary art can be both accessible and progressive. This work didn’t alienate us. It took us for the ride. The Queensland Ballet has shown incredible courage and innovation in bringing this to life. Ivan together Leanne Benjamin need praise for this accomplishment with Sia’s artistic DNA running through every beat.
A night of vitality, risk-taking, and joy — a reminder that art is at its best when it connects us, moves us, and dares to surprise.
– Daniel Gaudiello