The Australian Ballet School: Graduate Exhibition

The Australian Ballet School:  "Graduate Exhibition" -
Arts Centre Melbourne, State Theatre, 22 September -

It is official - ballet training at elite level in Australia is in very fine shape.  An evening of really outstanding dancing from graduating students of the Australian Ballet School, left its besotted audience in no doubt.

The program itself was balanced to bring out the range and subtlety of the individual dancers' strengths as well as to demonstrate the fine and disciplined ensemble work that will be central to a new dancer's working life.

It was also apparent that not only is this is an era in which male dance holds its own against female virtuosity, but that the men can quite easily eclipse the women.

After the traditional Grande Défilé allowed each ABS student to present themselves onstage, the opening work of the evening, Simon Dow's Ballet De Cristal, was a vehicle for displaying the considerable technical abilities of the dancers in a purely classical idiom.  Choreography for the ladies commenced rather tamely compared with that for the male dancers and was pretty and delicate rather than attacking.  Males began as they meant to continue with strength and flourish, displaying joyous tours en l'air, spirited scissor jumps and admirable unison.

Solos in this work ranged tonally and choreography contrasted lightness with explosive but compact dynamism from the female dancers in the first two solos and later some lovely phrasing and excellent control from the second two female soloists. The pas de quatre showed crisp, clean footwork displaying precision in their batterie and ballotté, neat pirouettes sur la coup-de-pied and swift grand jetés. The two males managed sharp directional changes and indicated ballon and strength in their jumps.  Marcus Morelli was a stand-out among the men with his multiple pirouettes, brisé volé, jeté en tournant and tours à la seconde. His execution displayed maturity and assurance as well as immaculate technique. The final female soloist showed exquisite control as she finished turns on pointe, pausing in a low attitude devant.

Natalie Weir's Jabula provided an atmospheric change of pace with bold physical statements and raw contemporary drama. This challenged dancers to work off-centre as well as square, and worked with the balance and counter balance of the couples' weight against each other. Soloists embraced the circularity of the movements and managed the micro-phrasing within the continuousness of the whole.  Male soloist Simon Plant was spectacular, showing off multiple tours ending in a flourishing allongé. He exhibited aplomb and maturity of presentation.  Kirby Selchow showed long, sinuous extensions and captured a vulnerability and sensitivity in her dancing with Nathan Brook.

Without is a neo-classical piece by Leigh Rowles danced by some of the younger students.  It is much more child-like in character but gave the students a chance to show strong technique as well as their interpretive abilities. Again, the males were impressive and the females danced with delicacy and nuance.

Margaret Wilson's Continuuum lent a sudden, stark, monochrome drama to the evening.  Reaching, pulling, angular movement melting into circular fluidity contrasted with the previous work.  Allegrias, by Areti Boyaci, allowed students to perform in a very specific idiom, flamenco, where the dancers transmitted a suitable haughtiness.  A modernist piece, 3 Preludes (Leigh Rowles), showcased the gentlemen again with more displays of masculine dynamism and great ensemble work.

Inevitably, the evening ended explosively with a big classical showcase by Leigh Rowles set to Tchaikovsky's Piano Concerto 1. Again, spectacle was on show from all the dancers.  Partnered work was very beautiful.  Of note was Phebe Sleeman who danced with a cool, elegant technique. One of the men executed about ten pirouettes and multiple tours à la seconde were on show.  

Many dancers were note-worthy in this excellent display of talent and commitment and many more deserved individual mention, but it was not always possible to keep track of individuals given the general nature of the cast lists and the multiple entries and exits of dancers within works.  They are all to be congratulated.

- Susan Bendall