A Midsummer Night's Dream

Even those who are not fans of classical ballet wouldn't be disappointed with this display of creative and physical energy: its colourful setting and humorous plot will always withstand the annals of time and is well worthwhile staging again after its initial success with the RNZB and QB in 2015-6. Mendelssohn originally composed the opening as a concert overture and was later commissioned to write additional incidental music for the play, a score now well-known and performed by Camerata in this production, conducted and arranged by accomplished Principal Conductor and MD Nigel Gaynor. Being a popular composer for many, myself included, Mendelssohn's music with its lyricism and animation really captures the core and soul of the play so it doesn't surprise me choreographers have been inspired to emulate its inherent theatricality and stage it for dancers.

In a word (or two), Liam Scarlett's version is world-class. His interpretation of the music is unparalleled, full of sensitivity and passion, inducive to both the classical and contemporary genres, but moreso, particularly in this production, full of sprightly non-stop action and pace creating a bustling evening of pure entertainment fit for all lovers of the arts, sports fans included.

QB's standard of dancing has improved immeasurably, particularly in regard to technique, during previous Artistic Director Li Cunxin's tenure, well achieving international standing. This is already apparent with Australian-born Principal Artists Joel Woellner and Lucy Green, well-cast as Oberon and Titania respectively, both in full flood and at the height of their careers in this performance: their pas de deux near the end of the ballet, for example, is worth watching purely on its own merit, catching the true spirit of the classical style in a demanding, beautifully choreographed and superbly executed performance.

Additionally well-cast, and perhaps the star of the show, Kohei Iwamoto as Puck, always a popular character in the play, had the audience breathless with his astounding display of technique (particularly in the second act) and infectious whimsical characterization. Again, the choreography is a terrific platform for such a dancer to interpret, and in this instance it really works.

Even for those who don't appreciate the art of mime as a story-teller, as can be the case with certain full-scale traditional classical ballets, if you look at a clever choreographer's ability to craft the character (for example, Helena, in a terrific performance by Georgia Swan, with her laugh-a-minute love forlorn antics) one can also distinctively visualize the 'actor' in the dancer too.

The list goes on with the array of vividly costumed and well-trained dancers on display including a lavish 'wonderland' set-design, all created by the talented Tracy Grant Lord and with lighting designed by Kendall Smith. I could well see this production working in a more expansive environment, for example the Lyric Theatre, and with a full orchestra, because it has the ingredients for a more epic presentation. It is after all a famous opus providing a larger-than-life fantasy playground to escape to, and isn't this the essence of the world of entertainment, particularly with this kind of genre? However, ballet isn't always big box-office and sadly reliant on generous sponsorship.

The ballet world was shocked and saddened to hear of Liam Scarlett's demise at the age of only 35, apparently mainly the result of journalistic and social media slants. Though the account of events is not fully apparent, one would hope certain individuals out there who don't always understand the personal stresses and strains of the creative mind should at least think twice, listen, communicate fully and dig deep before making any exacting decisions. In memoriam, I hope more of Liam's talent will be recognized well into the future.

QB does indeed sparkle again with this inspiring experience, well worth seeing for its exuberance and artistic achievement, including a demonstration of more than a touch of the avant-garde, fairy dust included!

Brian Adamson

Photographer: David Kelly