State Theatre, the Arts Centre
Melbourne, Tuesday May 29
The Australian Ballet School’s 'Morning Melodies' program is presented by the Arts Centre as part of a year-long series of one-off matinees by various artists. Its name in this case is a bit of a misnomer – such is the popularity of the School’s program that long ago it was expanded to two shows – one melody in the morning and one in the afternoon. The afternoon show reviewed here was packed with an enthusiastic audience.
The first item on the triple bill was perhaps the hardest – Les Sylphides, performed to a recording of the solo piano scores played by Emma Lippa. Choreographed by Fokine in 1909, the ballet’s design is inspired by the 19th century ballerina Marie Taglioni, and its Romantic aesthetic of idealised femininity – sloping shoulders, pinched waist, fragile grace – is a long way from the world these teenage performers inhabit.
The petite Miyu Katayama caught the essence of the ballet best, in the Waltz variation, with her expressive upper body, soft arms and quick, light footwork. Courtney McKeown, who performed the Mazurka, is taller and longer in physique, and was sweet but less sprite-like. Her arabesque releves could be stronger. In the Prelude, Hayley Donnison managed the melting landings but sacrificed the height of her jump to achieve the effect. Young Emilio Pavan, as the poet, looked every inch the part, with his long elegant legs and curly hair, and has tidy technique with well executed beaten steps. He gave his solo a soft but nicely judged dramatic flourish. Overall the corps was well synchronised, with good tight fifths, but need a better sense of old-fashioned deportment and epaulement if they are really to embody the spirit of this ballet.
The audience was startled from this reverie with the next work on the program, Grande Tarantella, by Leigh Rowles. One can always expect to be entertained by this choreographer, and the students were unleashed in a high energy showcase in which they had a chance to show off the their hard-won technique. The star of the ballet was undoubtedly Shaun Andrews, who seemed so comfortable in his part that it might have been created for him. Without any trace of effort, he pulled out crackerjack jetes and pirouettes that had the audience gasping with amazement. This boy seems born to dance. His partner, Mia Heathcote, is a lovely dancer, but unfortunately was quite overshadowed by this young man! Now he needs only to add some expressiveness to complete the package.
Last up was Jiri Kylian’s mini masterwork, Symphony in D. The ensemble of dancers is dressed in back-to-front baseball caps and short black pants. Choreographed in 1976, the ballet is still as fresh as sunrise and perfectly suited to the young cast. A delightful piece of whimsy, Symphony in D relies for its humour on amusing partnering mishaps and misunderstandings, which actually require split-second timing and confidence to be pulled off successfully. The cast performed with obvious enjoyment and requisite cheek, with Miyu Katayama once again standing out for her pert characterisation.
On evidence of this program, it is little wonder these 'Morning Melodies' performances are so popular.
- KAREN VAN ULZEN
Note: all photos are from the dress rehearsal.