• Photo: Jeff Busby
    Photo: Jeff Busby
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The Australian Ballet: Murphy

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State Theatre, Arts Centre Melbourne, March 16

It is 50 years since Graeme Murphy began his relationship with The Australian Ballet (TAB) and almost 40 since he founded Sydney Dance Company, which he led for 30 years. Not only is Murphy an iconic choreographer, he is also the creator and keeper of deep dance histories and lineages because of the number of dancers and creatives with whom his work has intersected. TAB’s programming of a survey of Murphy’s work serves as a walk through his oeuvre – a reminder of his vision and unique choreographic fingerprint.

Comprising Firebird and Scheherazade, as well as extended excerpts from four works, "Murphy" is quite a substantial program. It includes works from 1999 – 2009, with the exception of Scheherazade from 1979. It was lovely to this earlier work – the only one I had not seen before. Costumes by the legendary Kristian Fredrikson are gorgeous, ethereal translucent wisps, while the set is a shimmering forest canopy and takes full advantage of the dimensions of the State Theatre. The dance works in various planes; a study in compositional deliberateness that reminds of tableaux from a Grecian vase. Only four dancers and a singer occupy the space and are allowed full command of it. The full height of the stage is exploited through the use of bungees that give the illusion of dancers gliding to earth. This use of space also contributes to a spare, expansive aesthetic – so different to Firebird with its monumental evocation of primitive forces.

Photo: Jeff Busby
A quivering, flighty Firebird: Lana Jones with Kevin Jackson. Photo: Jeff Busby

Together with Firebird, which occupies the second part of the program, excerpts from Grand make up a substantial part. This is testament to the work’s importance to Murphy, whose pianist mother, Betty, is its inspiration. Six movements are wrapped into a package of delights, referencing quite literally the varied textures and compositional moods of the six composers used for the dances. At times the dancers flutter and flock like notes tinkling from the instrument. At others, the striking of notes and hammers are recorded in movement. Some sequences reference the mood or period of the music as with the sultry, bluesy Gershwin and the jaunty Fats Waller. Here the dance reminds of golden era musical numbers. Valerie Tereshchenko and male entourage enchanted in the former, while Brett Chynoweth and Marcus Morelli delighted in the latter.

Photo: Jeff Busby

Valerie Tereshchenko and her male entourage enchanted in 'Grand'. Photo: Jeff Busby

Firebird stands up as a beautifully crafted and designed work based on Stravinsky’s tale of struggle between good and evil in a magical realm. Mixing themes of birth, death and renewal, freedom and captivity, there is plenty of visual interest. The costume and set design by Leon Krasenstein recall a Firebird we might recognise - feathered tutu, flashes of red - and add to it an alien landscape of hatching transparent eggs, eden-esque verdure and an evil reptilian overlord.

Lana Jones was a quivering, flighty Firebird. She captured well the instinctive, wildness of her role. Brett Chynoweth conveyed the menace and wily agility of the serpent-creature, Kostchei, who enslaves the people of the land. All very fanciful and over the top - but still, Murphy’s Firebird is a visually enchanting telling of the story.

This tribute to Graeme Murphy is curated by Murphy himself and artistic associate, Janet Vernon and the impulse from them is understandably to give more rather than less. Yet paring the selection back slightly might have strengthened the program. The Silver Rose is not one of Murphy’s most consequential ballets. Created for Bayerisches Staatsballett in 2005, it has been staged only once for AB and the excerpt chosen does not leave me clamouring for its return. Although the design is elegant and evocative, the two scenes don't really seem to go anywhere.

It is fitting for Graeme Murphy and Janet Vernon to be celebrated and now is probably the right amount of time after their stewardship of SDC to do so. Ultimately, the tribute is to a moment in dance history and as such is a great opportunity to see a collection of works together.

SUSAN BENDALL

Top: Brodie James, Lana Jones, Leanne Stojmenov and Jarryd Madden in Murphy's 1979 work Scheherazade.

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