Bringing together one work’s beguiling, rhythmical ebb and flow of what seems a microcosm of the order and chaos of human existence through contemporary dance with another joyously celebrating classical ballet’s beauty and exactitude, The Australian Ballet’s (AB) Circle Electric and Études, make an aptly contrasted double bill.
Despite their aesthetic and stylistic dissimilarities, both are deeply connected through their individual perspectives on ordering, organising and structuring of the individual and collective – one pulsating with organic life, the other a lively, geometricised and patterned prescription for perfection.
Together, the breadth of artistic excellence and breathtaking physicality and adaptability of the AB dancers are splendidly showcased. Everyone, from the principal dancers to coryphées, proves to be a vital element.
The double bill opens with Circle Electric, Stephanie Lake’s debut work for AB as the company’s new resident choreographer. It’s an exciting, bold and diverse work that is, in my mind, a healthy step in the company’s evolution under current artistic director David Hallberg. Not everyone will agree.
The work begins with a group of 10 dancers standing closely within a circular tube of light. An orchestral blast sounds and the dancers raise their arms at 45 degrees in a hypnotic-like ceremonial manner. Intermittent blasts continue but, in between, the dancers begin to move with unique and seemingly uncontrollable reactions. Thoughts of microscopic critters responding to their environment on a Petri dish come to mind.
Changing from mixed sex to female, then to male groupings, divisions occur before the ring is raised obliquely and a long succession of pairings spill out to reveal a variety of encounters. Later, a Grecian frieze-like conveyor of moving figures overlooks an agora where a palpable sense of life’s interactions from pleasantries to conflicts occur as part and parcel of our world.
There’s also the comic but revealing truth in opposing sides at play as two groups form, begin a shouting contest and, after some intricate floor-crossing, leads to a solo member left out in the cold. Finally, they notice the audience and all turn to lash out at them.
Circle Electric is one of those works that has no narrative but is impossible for the human intellect not to hope to make sense of it. Through its genuine spark, deftly handled segueing and evocative imagery and expression, Lake makes processing its multiple episodes a wonderfully rich exercise.
Lake’s choreography is eclectic, vibrant and highly demanding. It also contains so much chaotic individuality that you imagine no two performances could ever be the same. From the regimental stiffness to the brilliant plasticity of the human form, utilising both mechanical and fluid motion, Lake’s work prods and unashamedly embraces ballet in a modern, progressive society.
It all coalesces well through its abstracted simplicity thanks to the integrated design team – Charles Davis (sets), Paula Levis (costumes) and Bodco Shaw (lighting).
At almost 70 minutes, however, it feels at tad long and a trim at some of its repetitions wouldn’t impact the total effect. That small quibble might also have something to do with the duration of composer Robin Fox’s electronically harsh score – still, nonetheless alluring – with a full Orchestra Victoria seemingly on standby.
Post-opening night on Wednesday, I read in the program notes that Circle Electric explores the paradox between our insignificance in the scheme of things as human beings and the profound impact we can have. Perhaps I wasn’t quite on the mark but the beauty of Lake’s work is that she inspires thinking.
Moving from the cerebral to the pleasurable, Harald Lander’s Études – dating back to 1948 when Lander was artistic director of the Royal Danish Ballet – is an effortlessly seductive piece achieved with punishingly challenging requirements.
Lander’s concept simply makes reference to the dancers’ repetitious exercises and drills at the barre before blooming into a jam-packed array of classical ballet structures highlighting everyone from a featured soloist to the entire corps de ballet.
As it unfolds – showing a similar restraint in design and predominantly reliant on Francis Croese’s dynamic and dramatic reproduction lighting – Études might have the panache of a gala performance but Lander cleverly draws attention to the connection between practice and performance.
It is neither without its own little sense of fun. The opening scene highlighting only the legs of three sets of four dancers at the barre in an otherwise darkened setting makes an entertaining and quirky Kosky-esque start (anyone who has seen director Barry Kosky’s The Nose will know). And from start to finish, in a whirlwind 60 minutes, it’s outstandingly realised with contrasts of wondrous weightlessness and exhilarating power by the AB dancers.
While truckloads of praise go out to the corps, principal dancer Ako Kondo brings sparkling focus to the stage as a prima ballerina stereotype performing a striking glossary of mesmerising ballet techniques. Joseph Caley and Chengwu Guo complement her with remarkable athleticism and troubadour-like fearlessness.
Composer Knudåge Riisager’s melodic, luscious and lively score certainly assists in soaking up the spectacle with Orchestra Victoria finally able to impress with their expert best under the leadership of Jonathan Lo.
When all is danced and done, Lake and Lander are really expressing head and tails of the same coin where, perhaps at its heart, is a fully explored meeting point of the way order and chaos are managed. And, as a pair, they stimulate a spectrum of receptors that count for something thoroughly rewarding.
Études / Circle Electric
Regent Theatre, 191 Collins Street, Melbourne
Performance: Wednesday 2 October 2024
Season continues to 9 October 2024
Information and Bookings: www.australianballet.com.au
Images: Artists of The Australian Ballet in Circle Electric – photo by Kate Longley | Artists of The Australian Ballet in Circle Electric – photo by Kate Longley | Artists of The Australian Ballet in Études – photo by Kate Longley | Joseph Caley, Ako Kondo and Chengwu Guo in Études – photo by Kate Longley
Review: Paul Selar