Instruments of Dance

Instruments of Dance is a mixed bag contemporary program put together for the Australian Ballet. Three choreographers tell different stories through music and dance in this program, The Royal Ballet’s resident choreographer Wayne McGregor, NYC Ballet’s Justin Peck and our own Alice Topp.

McGregor’s Obsidian Tear features an all-male ensemble. Choreographed to violin works by the Finnish composer Esa-Pekka Salonen and featuring soloist and concertmaster Sulki Yu, McGregor aims to discuss a world where there are only men. It’s beautifully danced by nine male dancers from Prinicpals Adam Bull and Callum Linnane to Corp member Adam Elmes, who is particularly lithe as the young ingénue of the piece.  Everyone plays their part well here but the onslaught of discordant music and the trite and disappointingly stereotyped view of men left in a world without women is disappointing. There’s violence and sex, often in tandem.

Alice Topp’s Annealing brings more softness and positive energy to the stage. Kat Chan’s fabulous gold and silver costumes root the story. Bryony Marks’ score is uplifting and contemplative and Jon Buswell’s lighting and set design bounces the metallic shimmer of the costumes around the stage.  Adam Elmes is once again a stand-out in this part of the program, proving he is someone to watch out for. Topp brings light and shade to her ballet, showing the fragility of compounds before the annealing and the sheer strength of those that have gone through the process. The Corp mostly do their job well, although some of the incredible discipline to synchronized movement that they showed in Kuntskamer, seems to be slipping.

Justin Peck’s Everywhere We Go was an utter delight. With music composed by Sufjan Stevens, and the fast footwork we have come to expect from a New York City Ballet piece. It was light and bright and joyous, both in choreography and in score. Benedicte Bemet and Imogen Chapman are made for this kind of ballet, their exuberance flowing from the stage. Brett Chenoweth showed why he is a Principal dancer, achieving great height when he left the ground. There are intimate moments in this piece which are quickly replaced by scores of female dancers in white tights and shoes with striped, nautical themed tops. Here the Corp were tight and looked like they were enjoying themselves while they danced. It was infectious and made it hard to avoid a smile. Everywhere We Go is well worth the price of admission, for serious dance aficionados and the uninitiated. The Australian Ballet’s work here is a positive portend for Balanchine’s Jewels in next year’s program.

L.B. Bermingham

Photographer: Jeff Busby