BALLROOM BLITZ - Canberra Theatre

Ballroom Blitz dancers

Produced by Anthony Street – Choreographed by Aric Yegudkin

Musical Direction by Hayden Baird

Canberra Theatre – April 26^th, 2026. Reviewed by BILL STEPHENS.

Ballroom Blitz dancers in action.

Fans of long running television dance shows Dancing With The Stars, and So You Think You Can Dance were in their element at Ballroom Blitz.

There were swivelling hips aplenty, sequins, spangles and barely-there costumes decorating perfect bodies as ten highly accomplished ballroom dancers performed a succession of virtuosic solos, duos and tightly choreographed group routines conceived by Aric Yegudkin.

A three-time Dancing With The Stars Champion who has partnered many of the ‘stars’ who competed in Dancing With The Stars, and a former resident choreographer for So You Think You Can Dance, Yegudkin has devised a spectacular stage presentation that showcases the skill, passion and spectacle of ballroom dance.

The ten highly skilled dancers who make up the cast of Ballroom Blitz have either appeared in various episodes of the television shows or are award-winning Dance Sport competitors. They are Ruby Gherbaz, Daria Walczac, Stephanie Cappas, Siobhan Power, Jessica Girvan, Joshua O’Grady, Steven Greenwood, Shae Mountain, Peter Rodda and Sigurdur Sigurdsson.

Ballroom Blitz dancers in action

They executed Yegudkin’s intricate choreographies, which fused elements of Tango, Viennese Waltz, Foxtrot, Quickstep, Jive, Samba, Rumba and Pasa Doble into captivating solos, trios, and group routines, with mesmerising skill and pizzaz.

Regretfully, because there were no programs available, or any other means of identifying the dancers, it was not possible to identify the individual dancers performing those routines.

But they danced to captivating arrangements of favourites including “Moonlight Serenade”,  “Putting On The Ritz”, “Dancing in the Dark”,   and “Unchained Melody”  played by a multi-skilled live band consisting of  Hayden Baird (Musical Director, Sax, Flute, Synth, Kane Watts (Drums), Liam Powell (Bass and Double Bass), Luke Kozanski (Guitar) and Joseph Bonilla (Keys) who filled the theatre with lush arrangements worthy of the finest ballrooms.

Incorporated in many of the routines were two vocalists, Perri Espinoza, who during the program fascinated with her spectacular costume wardrobe, (a different outfit for every song) and her impressive versatility moving effortlessly between the song styles as varied as  Whitney Houston’s I Wanna Dance with Somebody, Tina Turner’s What’s Love Got to Do With It and Elvis Presley’s  Hound Dog.

 “The Voice” contestant, Arthur Hull, in addition to adding vocals to many of the dance routines, charmed in two feature moments with a superb rendition of Dancing in the Dark for which he was accompanied on guitar by Luke Kozanski, and later with a moody rendition of Dancing with a Stranger.

But his attempts at compering also provided an unfortunate low spot of the evening when he took the stage shouting into his mike “Havin a good time? Let me hear you!  Havin a good time?” before hectoring the already responsive audience to rate the sex-appeal of dancer, Josh.

This ill-conceived, time-wasting effort at audience participation, destroyed the atmosphere of glamorous sophistication engendered by the rest of the show. The time spent on this segment would have been better spent on voice over introductions identifying dancers in feature spots.

This lapse apart, Ballroom Blitz, offers audiences the rare opportunity to experience top class ballroom dancers in a superbly produced, highly polished theatrical spectacular.

Ballroom Blitz dancers in action.




Images provided 

  This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

 

LES LIAISONS DANGEREUSES

 

Written by Christopher Hampton from the novel by Choderlos De Laclose. Directed by Lainie Hart. Canberra Rep. Canberra Rep Theatre. April 23 to May 9.

 

This is a dark play. At its heart are two unscrupulous manipulators,  two people with more money than they have morality who have the power to play with the lives of others. But in the Paris of 1785 revolution is coming.

Merteuil (Jordan Best) is a woman who relishes power and intrigue. Her collaborator is the equally amoral Valmont (Jim Adamik),  a skilled manipulator of women. It is an unstoppable double act that looks immune to change and challenge.

Valmont is juggling two pursuits. One is of the very young and naive Cecile (Jaime Johnston) despite the fact that she is engaged to be married. The other is of Tourvel (Yamina Clifton), married, deeply religious, but being drawn in by Valmont.

Everything is reported back to Merteuil and the pair of them devise further twists and turns.

Until something snaps and the relationship between the two takes a more savage turn.

There are powerful performances all round in a fierce play where nothing ends happily. Johnston is excellent as Cecile, a heartbreakingly naive young woman who has been taught nothing about the way of the world. As the older woman Tourvel Yanina Clifton subtly shows she knows more but is just as trapped by Valmont’s lies and by the demands of society as Cecile.

Azolan, Valmont’s servant (Jack Shanahan) is a enthusiastic supporter of his master’s manipulation of others and a clever anticipator of his wishes.

Best and Adamik  are well on the way to capturing the essential amorality and savagery of the central couple in performances that will deepen as the season progresses.  Adamik’s Valmont goes from genial to lost in a terrifying heartbeat. Best’s performance of Merteuil’s perceptive reflection on the position of women strikes home as does her final vision of the oncoming revolution which will sweep away so much.

Kayla Ciceran’s subdued period set and Nathan Sciberras’ understated lighting place the older women like Cecile’s mother Mme de Volange (Desiree Bandis) who does not see her daughter’s danger and Volange’s aged honest aunt Rosemonde ( Ros Engeldow) into a safe area that will not last as they gossip and play endless games of cards.

And the small army of servants, silent (apart from Azolan), impress as they glide and bow and pick up the domestic pieces, transforming the upper class interiors at one point into a snowy exterior as Valmont duels with Cecille’s justifiably furious fiancé Danceny (Isiah Prichard).

Be warned. This is not a comfortable play.

 

Alanna Maclean

Aladdin

The Victorian State Ballet

At The Playhouse

Season Closed

Reviewed by Samara Purnell

The Victorian State Ballet has made a flying visit to Canberra (whether or not it was on the magic carpet), with a huge ensemble of dancers, to present Aladdin. 

Elise Jacques as Princess Jasmine

Choreographers Michelle Cassar de Sierra and Martin Sierra have taken some artistic liberties in this version, but the traditional characters and the loved, modern Disney ones are all here to be enjoyed, whether every detail of the storytelling and gestures are recognised by audience members or not.

Michael Scott-Kahans delighted as the spritely Aladdin, embodying the youthful balance of cheeky and charming, all the while tormenting his exasperated mother (Charlotte Jones, who enjoyed squeezing the juice out of the role). His solos were performed with flair and a sturdy confidence and his pas de deux displayed tender and engaged partnering with Elise Jacques’ Princess Jasmine. Without choreographic spectacle, their dances were elegant, sweet and assured. They really did make a perfect pairing.

Jacques is a lovely dancer - assured and expressive, as demonstrated in her dances in the bathing sequence and the engagement and wedding dances. 

Daniel Sierra as the Genie cuts a striking figure on stage, with his long limbs. He has not developed complete stability in his dancing and partnering or ease of presentation in this role just yet.

Tristan Gross as Jafar the Sorcerer performed his dastardly role with cunning and solid dancing.

Much of this ballet is ensemble work (and a lot of carrying of vessels by the female dancers, including at one stage, across the desert). A line of guards with spears suddenly appeared in the opening scene, split-leaping across the stage, whetting the appetite to see more of the male ensemble, who performed with impressive flexibility and elevation.

The timing of the ensemble in the opening scenes was out of sync and some of the costumes in these scenes were distracting. The red skirts and white t-shirts looked less than impressive in fit and quality. Aladdin’s wedding costume was unfortunately humorous for the wrong reasons. However, intentional humour came from the Magic Carpet, after reversing onto the stage on all fours. This short appearance provided laughs and some endearing choreography.

Many other costumes were beautiful, from the bedlahs (bejewelled tops), to the company’s wedding ensembles and the robes of Jafar. And particularly inside the cave, where the blue and white lighting was magical, crystals glistened and the dancers appeared as gems, in beautiful, softly coloured tutus. This was also one of the choreographic highlights - the pas de deux dances of the sapphires, emeralds, rubies and diamonds. Maggie de Koning with her impressive flexibility and extensions stood out as the diamond. And former Canberran Grace Kefford performed a beguiling dance effortlessly. 

The backdrop was subtly animated imagery and changed from the Bazaar, Aladdin’s modest home, Jasmine’s palace and a garden pool, for bathing. Prop candles on waist-high candle-holders appeared in many scenes, giving them a charming ambience. The recorded music throughout was thoroughly enjoyable, sweet and melodic.

The cast did not have much room on the Playhouse stage when 30+ dancers were on it, and they did a good job of creating the intimacy in the cave and the bustle of a wedding party. 

Images by Enpointe Productions

Aladdin felt accessible to a wide audience, especially dancers young enough to sit through the almost 2.5hr run time, as something to not only enjoy but aspire to. And for the seasoned ballet-goers, it was a fun and easy couple of hours to enjoy the colour and spectacle of the production and get lost in the fantasy of Aladdin and his escapades.

LES LIAISONS DANGEREUSES

 

Les Liaisons Dangereuses. Adapted from Pierre Choderlos’s novel by Christopher Hampton.

Directed by Lainie Hart. Set design by Kayla Ciceran. Costume design by Helen Drum. Lighting design by Nathan Sciberras. Sound design by Paris Sharkie. Properties and set dressing by Rosemary Gibson. Russell Brown OAM Set Coordinator.  Simon Tolhurst Production Manager. Carmen King Stage Manager. Emily Backhouse Assistant Stage Manager. Jill Young Intimacy Coordinator. Annie Holland Fight Coordinator. Elizabeth Goodbody FOH Coordinator. Rep.  Canberra Repertory Society. April 23 – May 9. 2026. Bookings 62571950

Reviewed by Peter Wilkins.

Desiree Bandle as Mme de Volange. Ros Engledow as Rosemonde. Amy Gottschalk as Adele. Ashleigh Butler as Emilie
Jim Adamik as Valmont in Les Liaisons Dangereuses

 

There is much to commend in Canberra Rep’s stylish production of Les Liaison Dangereuses. There is of course Christopher Hampton’s bitingly sharp translation of Pierre Chodelros de Lactos’s novel of sexual seduction, betrayal and revenge. There is Rep’s customary care and devotion to detail in Kayla Ciceran’s set design and construction by coordinator Russell Brown OAM and his team. Helen Drum’s costume designs exquisitely capture the essence of the pre French revolution period from the opulence of the aristocracy to the modest attire of the servants and the devoutly attired costume of the religious Mademoiselle Touvel (Yanina Clifton). Once again, Rep has excelled in its production values.

Jim Adamik as Valmont. Ashleigh Butler as Emilie

   

However, an adaptation of de Lactos’s novel of 1782 is not without its challenges, and it is gratifying to see that Lainie Hart’s carefully observed production captures the style and scandalous intent of De Lactos’s work as magnificently realized in Hampton’s adaptation. It is an actor’s gift and Rep’s actors under Hart’s astute direction make the most of every moment of this wicked and cruel attack on the morals and sexual misadventures of a vain and pleasure seeking aristocracy.

Jordan Best as Merteuil. Jim Adamik as Valmont in
Les Liaisons Dangereuses

 

The proof is in the casting, and none more so than in the casting of the devious trickster La Marquise de Merteuil and lascivious seducer Vicomte de Valmont. In Jordan Best and Jim Adamik, Hart has scored a triumph. Real life husband and wife team share a rapport and understanding that makes their deviousness utterly believable. Best’s performance goes far deeper than mere malicious guile. There is an aching pain in a woman, whose loathing of men and her subservient social status in the eyes of a paternal society lends cause to Best’s coquettish flirtation and manipulation. Adamik, already renowned as a skilled comedic character, plays the vacuous arrogance to perfection, while capturing a weakness that threatens his egotistical reputation and can only be resolved by an act of cruelty in a scene with Touvel, played with heart-wrenching truth by Clifton.

Yanina Clifton as Tourvel. Jim Adamik as Valmont
in Les Liaisons Dangereuses. Photo by Maddie and Mark Photography

 

The “Beyond my control” scene stayed with me long after I left the theatre as an expression of the cruel sexual abuse by a privileged aristocractic class. Clifton’s performance is thoroughly captivating, charting the emotional journey from the upright epitome of moral virtue to the victim consumed by love unleashed by the false ardour of Valmont. It is worth a visit to Rep’s production to see these three fine actors do Hampton’s adaptation justice. There is strong support from the rest of the cast who embrace the spirit of de Lactos’s characters across the social strata. Ros Engeldow makes a welcome return to the Rep stage as Valmont’s elderly aunt, wise to the wiles of the male gender and the vulnerability of her sex. Desiree Bandle’s Mme de Volange exudes aristocratic superiority and snobbery. The various faces of the servant class are well expressed in Joan White’s doddery performance of La Gouvernante and Jack Shanahan’s presumptuous man servant to Valmont, Azolan. Jamie Johnston’s courtesan Cecile lends the bedroom scenes a touch of titillation which contrasts with the naïve  innocence of de Volange’s daughter Emilie (Ashleigh Butler). Merteuil’s weapon of jealousy, Danceny, wreaks his own revenge in a sword fight skilfully choreographed by Annie Holland.

Jordan Best as Merteuil and Jim Adamik as Valmont in Rep's production
of Les Liaisons Dangereuses.

 

Rep’s production is not without its challenges. Best and Adamik carry the drama through its roller-coaster ride of cunning, manipulation, sexual liaisons and the dangerous toying with people’s weaknesses. The opening night lacked the lightness of a souffle. The play opens and closes with a card game. The deck is dealt and fortunes rise and fall on the whims of power. Best and Adamik play the hands cunningly and dangerously while Touvel, Emilie and Danceny are maliciously finessed in a deliberately contrived sleight of hand. Nathan Sciberras’s lighting of the bedroom scene set at the rear of the stage, though obviously intending to preserve a degree of modesty of Jill Young’s intimacy consultancy, lacked a certain degree of highlighting to lift the scene.

Once the production settles in and the game becomes a relished contest of wit and conquest with all the playfulness of the drama, Rep’s revival of Hampton’s Les Liaisons Dangereuses will keep you intrigued from beginning to end.

Promotional images Ross Gould

Production photos Maddie and Mark Photography