Li’s Choice: Celebrating a Decade of Directorship

Image: Kohei Iwamoto - Elite Syncopations

Queensland Ballet’s 2022 season celebrates 10 years with their Artistic Director, the acclaimed Li Cunxin. This special programme – as the title suggests – presents Li’s choice of his favourite iconic pieces: two from Queensland Ballet’s recent seasons past – ‘Glass Concerto’ and ‘We Who Are Left’ – and one new treat: ‘Elite Syncopations’ a spectacular show featuring around 30 dancers. It is presented at the Playhouse by Queensland Ballet’s superstars for the first time – a fitting colourful event to also celebrate the reopening of the theatre after months of restoration after the recent floods.

There are so many reasons to see this programme: to celebrate a decade of artistic excellence under the model mentorship of Li and his wife Mary (who is the group’s Ballet Mistress and Principal Répétiteur); to appreciate the wealth of talent we are lucky enough to have on our doorstep (our dancers are a diverse global mix – from Ballarat to Mackay, from Cuba to Japan – all trained and toured locally and internationally); and to simply enjoy being astounded and delighted. If you have never been to the ballet before, it is a perfect introduction to ballet’s poetry and charm. And of course there is the music, the lighting – and the wonderful costumes.

Image: Mia Heathcote and Chiara Gonzalez - Glass Concerto 

First, the two shorter pieces. In ‘Glass Concerto’ choreographer Greg Horsman (also the company’s Chief Ballet Master and Director of Artistic Operations) takes the frenetically modern ‘Violin Concerto’ by Philip Glass and paints a scene with fantastically fast-paced movement achieved to perfection by couples Yanela Piñera and Patricio Revé; Chiara Gonzalez and David Power; and Mia Heathcote and Joel Woellner. The beautiful black sheath costumes by George Wu are starkly silhouetted against a swimmingly blue backdrop courtesy of Lighting Designer, Cameron Goerg.

Image: Yanela Piñera, Patricio Revé, David Power and Joel Woellner - Glass Concerto

‘We Who Are Left’ is a perfect illustration of Ballet’s ability to tell an epic story in a short space of time. In this piece, award-winning choreographer Natalie Weir (also Resident Choreographer with the company), creates a World War I drama inspired by Benjamin Britten’s ‘War Requiem’. Like a series of short stories, this piece takes us from the homestead kitchen sinks to the reality of the trenches – aided by a stunning lighting design by David Walters (revived by Cameron Georg) that finely balances the beauty of sunlight with the horror of gunfire. The dancers are costumed by Noelene Hill in simple but flowing jersey that evokes the era but allows the dancers to move. Lucy Green, Laura Tosar, Georgia Swan, Sophie Zoricic, Lina Kim, Patricio Revé, Shaun Curtis, D'Arcy Brazier, Mali Comlekci and Vito Bernasconi present a range of characters in this succinct tale of pathos and poetry.

Image: Lucy Green - We Who Are Left

The finale piece, ‘Elite Syncopations’ is simply the most enjoyable dance piece I have seen. I’m biased because I love the songbook of Scott Joplin – but to see around 30 dancers on stage at the same time, with live music by Camerata – Queensland’s Chamber Orchestra, is a wonderful treat. First presented at the Royal Ballet, Covent Garden in 1974 – hot on the heels of the success of the film ‘The Sting’ that features Joplin’s music – this dance spectacular is choreographed by the acclaimed Sir Kenneth Macmillan and staged by Julie Lincoln, with cheeky colourful lycra costumes by Ian Spurling (the South Australian studied in London, worked with Macmillan on several ballets as well as creating costumes for the likes of Freddie Mercury).  

Image: Elite Syncopations

Li Cunxin and Mary performed in this piece during their time at the Houston Ballet, and Li said he has always wanted to present it with the Queensland Ballet dancers. I’m glad he chose it for this occasion. The music by Joplin and his contemporaries is a chance for the full company of featured and first company dancers to show off their skills. Presented as a kind of sunnier version of a ‘They Shoot Horses Don’t They’ dance competition, the dance styles pick up on influences from the Charleston to the Cakewalk with vibrant classical ballet moves to boot.

Image: Victor Estévez - Elite Syncopations

The crazy costumes’ cheer and charm are a perfect match for vignettes titled ‘Sunflower Slow Drag’ to ‘Hot House Rag’ and ‘Ragtime Nightingale’, led in the rolling piano style by Camerata’s Conductor and Pianist, Nigel Gaynor. The piece features all the company’s Principal Artists, Senior Soloists and Soloists and many of their First and Company Artists. What a brilliant way to see so many amazing performers. The dancers themselves are having a hoot as they create characters who flirt and swagger, vying for attention in a really wonderful production. They are enjoying every minute, and so will you.

Beth Keehn

Photographer: David Kelly