The Australian Ballet School’s recent showcase offered a bold evening of artistic range — from the purity of Petipa’s classicism to the emotional depths of contemporary storytelling. Under the inspired direction of Megan Connelly, the program reflected a thoughtful balance between tradition and innovation, giving audiences a glimpse into the evolving artistry of Australia’s next generation of dancers.
La Bayadère, Act III: Entrance of the Shades
Performed by Level 7 & 8 students of The Australian Ballet School
Choreography after Marius Petipa, restaged by Joanne Michel and Irina Konstantinova
Music: Leon Minkus
The evening opened with the ethereal “Entrance of the Shades,” a transcendent beginning that set a reverent tone. The young women of the School moved with progressive confidence and elegance, their arabesques and adagio work unfolding in soft unison. The attention to upper body placement and port de bras was clearly the result of Joanne Michel and Irina Konstantinova’s refined coaching.
The lead couple displayed a polished approach to the pas de deux, though one wished for a deeper glimpse into the emotional connection between Solor (Rory Taylforth) and Nikiya (Sooan Lee). Taylforth’s dancing was marked by elevation, line, and quiet strength, while Lee brought a poised serenity and gentle lyricism to her role. In a ballet where “nothing can be hidden in a white tutu,” this was a bold and elegant statement from the School — a reaffirmation of the importance of grounding dancers in the demanding precision of the classical canon.
Echoes in Motion
Performed by Level 7 & 8 students
Choreography: Kevin Jackson
Music: Edvard Grieg
Kevin Jackson’s Echoes in Motion offered a lyrical and musical exploration of masculinity, showcasing the men of the School in a gentler yet no less technical light. The choreography hinted at the poetic vulnerability of La Sylphide, blending romantic sensibility with a modern masculine ease. The dancers’ connection to the choreography was genuine and heartfelt, their phrasing imbued with nuance and musicality — a testament to Jackson’s sophisticated approach. The audience appreciated the dancers with more personality and that connection between artist, choreography and audience is vital in a non-narrative like this.
A Dream Story
Performed by Level 8 students
Choreography: Lucas Jervies
Music: Max Richter; Dolores O’Riordan/Noel Hogan; performed by The Cranberries
Lucas Jervies’ A Dream Story was a highlight of the evening — an evocative and experimental work that delved into the psyche of its heroine. With striking theatricality and emotional depth, the piece charted a young woman’s dreamscape of desire, fear, sensuality, and awakening. The lead dancer, Natalie Henry’s, performance was magnetic, drawing the audience into a visceral journey. It was refreshing to see a contemporary work that embraced narrative so boldly — a direction that feels both current and vital in today’s dance landscape.
OtherWhere
Performed by Level 8 students
Choreography: Kevin Jackson
Music: Keith Fullerton Whitman
Jackson returned with OtherWhere, a sophisticated neoclassical piece that merged the purity of ballet line with the fluid dynamics of modern movement. The dancers moved with assurance, exploring a sleek, contemporary aesthetic while maintaining classical precision. Contemporary lighting and costume design enhanced the atmosphere, framing the dancers in an environment that celebrated both control and freedom.
Lyra
Performed by Level 7 students
Choreography: Prue Lang
Music: Chiara Costanza
Prue Lang’s Lyra pushed the students to explore physical architecture — the possibilities of the joints, the sculptural shapes of the body, and the interplay of collective rhythm. Drawing from a Forsythe style, the choreography challenged the dancers to embody abstraction while maintaining clarity of intent. There was a bold individuality within the ensemble, and it was evident that the students relished the opportunity to explore this stylistic terrain.
Scotch Symphony
Performed by Level 8 students
Choreography: George Balanchine, © The George Balanchine Trust
Restaged by Diana White, Joanne Michel, and Andrew Murphy
Music: Felix Mendelssohn
The evening concluded in grand style with Balanchine’s Scotch Symphony — a piece that radiated sophistication and demanded absolute precision. The students all rose courageously to the challenge, embracing the intricacies of Balanchine’s musical phrasing and crystalline technique. If one had to be hyper critical, the attention to the ends of the feet could have been more articulated. The leads Bronte Mollison and Ethan Dwyer were wonderfully suited and carried off the pas de deux with ease. Mollison with lovely extensions while Dwyer showing some explosive and effortless technique throughout the ballet. His applause was much deserved after the solo. Natalie Henry danced her role with infectious personality and joy, she will go far with that natural quality and audience appeal. This performance brought a touch of New York elegance to Brisbane, offering audiences an education in one of ballet’s great masters.
That the School would tackle such a work speaks volumes of Megan Connelly’s fearless leadership. Scotch Symphony was not merely a test of technique, but a celebration of what it means to dance with intelligence, joy, and courage. The students’ developing artistry promises a bright future, and the program as a whole reflected the School’s renewed sense of direction — a blend of heritage and modernity, discipline and daring. The urge is there to keep being brave and straying from ever being safe out on stage. This ballet on a larger stage size would give the students a better chance to spread their wings.
In essence, this evening was a celebration of the journey — the evolution from student to artist. Under Connelly’s direction, The Australian Ballet School continues to nurture both the technique and the imagination of its dancers, ensuring that the future of Australian ballet remains luminous, expressive, and above all, fearless.