Queensland Ballet: "Dance Dialogues" -
Thomas Dixon Centre, 9 February -
Since the announcement last year of Queensland Ballet’s (QB) first season under the artistic direction of Li Cunxin, anticipation has been almost at a fever pitch. Bookings are at an all time high, while the summer season of “Dance Dialogues” (Li’s spin on the very popular “Vis-à-vis” studio series instigated by former Artistic Director Francois Klaus), sold out early.
Walking into QB’s Thomas Dixon Centre headquarters where the studio performances are held, it was clear we are also entering a new era. This has always been a welcoming space, but with the entrance now directed to the larger waiting lounge doubling as foyer, smartly redesigned with a white, neon lit bar and festooned with marketing material, the sense of occasion was visibly heightened.
One of Li’s objectives for “Dance Dialogues” is as a platform for emerging choreographers to showcase works in their formative stage. Here independent choreographer Lucas Jervies and QB soloist Yu Hui bookended the evening’s program with two very different pieces.
Entitled The Firebird Suite, Jervies’s exploration of the Greek myth of Odysseus and the Sirens (performed to Stravinsky’s Firebird Suite), skilfully displayed the sculpted muscularity of the dancers in a work that made extensive use of the upper body and arms. It was deftly crafted and performed, given its short two and a half week gestation, with Lisa Edwards particularly striking as the lead Siren. The work deserves further development.
Yu’s Souls was a more literally expressive work, with an Eastern flavour both in the score (from the film 14 Blades) and the floor length burgundy skirts worn by all the dancers. Danced on the demi-pointe, with expansive fluid movements, the simple elements of lighting design including a fair dollop of smoke showed a well-rounded conceptualisation by Yu.
Li also wants to encourage a “dialogue” between audience and artist to help demystify the art form, to this end “interviewing” each choreographer after their work and inviting questions from the audience. Although undoubtedly informative, both these sections of the program seemed a little long, especially as there were few audience questions.
The middle section of the program, a “rehearsal” of the pas de huit from Ai-Gul Gaisina’s version of Giselle, which the company will be performing this year, was the most illuminating. It gave both an insight into the rigour that underpins a ballet performance (rather like the warm-up barre that used to greet the audience on arrival at “Vis-à-vis”), and also an idea of Li’s keen eye for detail.
Li has a charming, almost self-effacing manner that the audience immediately warmed to, but his charm undoubtedly belies a determination and drive to make an immediate difference. Less than a month into the year, with the whole company appearing energised and enthusiastic, his influence is already palpable. “Dance Dialogues” allowed but a very small, tantalising taste of what’s to come.
– DENISE RICHARDSON
"Dance Dialogues" runs until February 22. See www.ballet2013.com.au