Directed by
Simon Hoy
Lighting
design by Craig Boyes
Costumes
design by Santha King
The Q –
Queanbeyan Performing Arts Centre, July 8th and 9th.
Reviewed by
Bill Stephens
Though it’s been
established for 10 years, and its Resident Choreographer, Simon Hoy, is a
former Canberran, this is the first visit by the Melbourne Ballet Company to
the Canberra region. To introduce his company of ten superb dancers, Hoy has
devised a program of three relatively short abstract works, two choreographed
by himself, and the other by Timothy Harbour, which was presented under the
umbrella title of “Divenire”, loosely translated as “to become”, and which is also
the title of the first work.
 |
| Dancers of the Melbourne Ballet Company performing "Divenire" |
Performed to
a languidly beautiful piano composition by Italian composer, Ludovico
Einaudi, “Divenire” commences with a
lone dancer on stage. As she moves slowly across the stage she is joined by two
other female dancers, and together they perform a series of gently intertwining
enchainments which gradually resolve into lyrical poses. Eventually two male
dancers join them, and as the music gathers momentum, graceful lifts are
incorporated to create an exquisite atmosphere in which the movement of the
dancers seems totally dictated by the music. Short diaphanous smocks over flesh
coloured tights for the girls and neat trunks and tops for the men perfectly
complimented the mood of piece, as did the moody dappled side lighting.
 |
| Samuel Harett-Welk (centre) and dancers from the Melbourne Ballet Company perfor "Zealots" |
Timothy
Harbour’s aggressive choreography for his piece, “Zealots”, also performed by
five dancers costumed dramatically in clinging bright yellow costumes and black
footwear, occupying a harshly lit, white hot stage, provided a startling
contrast. Responding to a pumping mechanical score by John Adams, the intricate
contemporary movement style cleverly exploited the strong classical technique
of the dancers, perhaps best demonstrated in a riveting virtuoso solo for
Samuel Harett-Welk.
For his
final work for the program, “Lucidity”, Hoy drew his inspiration from Picasso’s
famous mural, Guernica, to explore notions suggested by the transmission of
light. Presented in four sections, to music by Olafur Arnalds and Max Richter,
with an ever-changing background of projected swirling images of an abstract
universe, this work was notable for the elegance of the movement, and for two
memorable pas de deux, one gently sensuous and superbly executed by Jo Lee and
Alexander Baden Bryce, and a strong male pas de deux for Baden Bryce and Samuel
Harett-Welk.
Given the
enthusiastic reception by the first night audience to their meticulously
presented program, it is hoped that the Melbourne Ballet Company, with its
distinctive repertoire, superb dancers and elegant style will be destined “to
become” a much anticipated visitor to the Canberra region.
This review first published in the digital edition of "CITY NEWS" ON 09.07.2016
