The Australian Ballet

Living Doll

The ballet, “Coppélia,” symbolises the end of Romanticism. Created in 1870, with original choreography by Arthur Saint-Léon, revised by Marius Petipa and Enrico Cecchetti, there is no enchanted forest with ethereal creatures and the supernatural. No sylphs, wilis, nor witches neither. But there are ghosts, if you know where to look.

The Allure of Nijinsky

His name is synonymous with movement, yet no moving footage exists of him performing. The images of fashion photographer Adolph de Meyer are perhaps all the crueller and more static for this. We can only imagine how Nijinsky slithered, leaped, flitted, and prowled.

The Belle of the Ball

A production replete with gold sprinkling from the ceiling, twinkling chandeliers, round like jellyfish, and greened nymphs that weave in and out like a serpentine vine; a true baroque ‘irregular pearl’ of a ballet, years in the making, and legacy building.
The Australian Ballet

Perpetual Motion

Perpetual motion, states the first and second laws of thermodynamics, is believed impossible to produce, yet I unwittingly found it nesting within “20:21,” the Australian Ballet’s recent triple bill.
Eloise Fryer and Ben Davis in “Cinderella.” Photograph by Jeff Busby

Age of Magic

As befits the dreamscape of a fairy tale, the chance to revisit an encore Melbourne-only 2015 season of Alexei Ratmansky’s “Cinderella” was one ball I was destined to attend, with a longed for Schiaparelli shoe hat planted atop my head or otherwise.

No rest for the Wilis

On Tuesday evening there were two stories unfolding on the stage of the State Theatre: “Giselle’s” timeworn story of love, betrayal, sorrow, and redemption; and playing the part of Giselle in her second-last Melbourne performance in a title role before she retires, principal Madeleine Eastoe’s farewell.