George Balanchine’s Jewels

Jewels starts with Emeralds, an almost painfully exact and slow demonstration of music and movement coming together. Whilst the Corps looked strong and effortless in their couru, they should be applauded for their ability to make this tiring step look effortless for a good 15 mins. Emeralds includes two Principal couples and a pas de trois which show off the best likeness of the French romantic ballets with Balanchine’s love of angles and quick, exact footwork. Callum Linnane and Sharni Spencer sparkled with crystal and in their performances as did second Principal couple Imogen Chapman and Maxim Zenim but it was the work of the pas de trois, and particularly Drew Hedditch which stole the Act. If Emeralds is anything to go by, Hedditch is a dancer to watch. In Emeralds there is not delineation between the dancer and the fabulous music by Gabriel Fauré.

Act II, Rubies, is worth the price of admission and then some. This is where Balanchine shows his real neo-classical chops and boy it’s stunning. From the moment the curtain opens to show the dancers in red stoned costumes reminiscent of 1920’s flappers, all standing en pointe (or demi for the men), the audience is rapt. Frantic angles, feet in parallel, dancers leading with their hips – it is exciting and there seems to be a fair amount of jeopardy for those on the stage. Leggy soloist Isolbelle Dashwood is pushed and pulled as she contorts her body into positions not seen in traditional ballets.  Then enter Ako Kondo and Brett Chynoweth and it’s a total knockout. Ako brings sass and sexiness with a sly smile, and those amazing extensions and control never fail to disappoint.  Brett Chynoweth is one of the most talented dancers the Australian Ballet has and in Rubies he once again proved his chops. It’s not just dance ability, but what both Kondo and Chynoweth have is the ability to perform. They take the audiences along with them and leave us all feeling exhilarated as the curtain falls.

If Rubies is what Balanchine wants, then Diamonds for Act III is Balanchine giving the people what they want, and what they want is a big, over the top, spectacular of tradition.  Think the final ball scene in any narrative ballet and you have an idea. Here he pairs Tchaikovsky with the Russian tradition of his roots. It’s beautiful, as are Principal pair, Benedict Bemet and Joseph Caley. It’s hard to top the excitement of Rubies, and Diamonds doesn’t really, but it brings the program home in a way that somehow feels right.

There is a nostalgia to the costuming by Barbara Karinska and the set design and staging by Peter Harvey and Sandra Jennings respectively, which does border on the old fashioned. It’s beautiful to be sure, but these ballets somehow feel like they deserve more now that we are in 2023. Regardless there is really nothing to complain about in this much anticipated performance of Jewels. It’s a must see for ballet fans, young and old.

L.B. Bermingham

Photographer: Rainee Lantry.