The Australian Ballet’s Signature Works, presented as a Melbourne-exclusive gala, was a joyous celebration of the breadth of talent and artistic vitality the company has forged.
Part showcase, perhaps even part report card, the program highlighted emerging talent alongside established stars, appealing equally to newcomers, whose attention span might not stretch to focusing on the storytelling of a full-length ballet, and devoted balletomanes.
Artistic Director David Hallberg set the tone with his characteristic beaming warmth, reinforcing the welcoming atmosphere the company has carefully cultivated.
For the event’s entirety, the broad stage of the Regent Theatre served as a clean canvas, with nuanced lighting design shaping each work’s distinct mood while keeping the focus firmly on the dancers.
In the second of three performances, Saturday evening’s performance opened with The Kingdom of the Shades scene from La Bayadère by the influentially 19th century choreographer Marius Petipa.
One by one, 24 white-clad corps de ballet dancers in tutus entered in hypnotic unison, their arcing port de bras and sustained arabesques creating a vision of ethereal calm. Notably, the en point footwork was beguilingly faultless – something they and their higher ranked counterparts demonstrated superbly all evening.
Principal artist Robyn Hendricks brought melting lyricism to the spectral Nikiya, opposite senior artist Davi Ramos’ virtuosic but tender portrayal of her warrior lover in life, Solor. As a trio of accompanying ghostly figures, Rina Nemoto, Precious Adams and Katherine Sonnekus, added clarity and grace to this poetic vision of loss and longing.
Following, the Flames of Paris pas de deux, after choreographer Vasili Vainonen, burst forth with jubilant bravura. Senior artists Yuumi Yamada and Cameron Holmes danced an exuberant salute to French revolutionary fervour – Yamada delighting with sparkling, buoyant charm while Holmes matched her with focused energy and soaring lateral leaps and elevations that drew great applause.
In contrast, Melbourne-based choreographer Yuiko Masukawa’s world-premiere This Moment, with music by Caroline Shaw, blended classical vocabulary with a contemporary fluidity. Jeremy Hargreaves, Amy Ronnfeldt, Henry Berlin and Alexandra Walton delivered its hypnotic flow with measured intensity, capturing the work’s meditative immediacy in riveting detail.
Victor Gsovsky’s Grand Pas Classique is a pinnacle of classical precision and virtuosity. Principal artists Chengwu Gao and Benedicte Bemet infused the demanding pas de deux with centred strength, crystalline lines and thoughtful musicality, honouring the Petipa tradition it reveres in what was one of the evening’s greatest highlights.
Morpheus’ Dream by Marco Goecke, set to music by Keith Jarrett – and incorporating Lady Gaga’s Bad Romance – delivered an edgy, kinetic contrast. Matthew Paten opens the work with impressive agility and timing and Mio Bayly joined him as a brilliantly animated partner.
Tracing the arc of a relationship’s unravelling in just ten taut minutes, both dancers, from AB’s corps de ballet, attacked its quicksilver, angular choreography with grit and emotional intensity in a riveting display of artistry and signalling an exciting future in their careers.
Completing the first half, choreographer Walter Bourke’s Grande Tarantella proved to be a delightfully cavorting little gem set to American composer Louis Moreau Gottschalk’s mid-19th century Grande Tarantelle. Dancers Samara Merrick (with tambourine in hand) and Harrison Bradley – both from AB’s corps de ballet – executed the pas de deux with much clarity and flirtatious ease but the work’s full vigour did, however, feel marginally restrained.
The second half was devoted entirely to Ballet Imperial by George Balanchine, a sumptuous homage to Petipa and composer Pyotr Ilyich Tchaikovsky, set to the Piano Concerto No. 2 in G major. Emerald tutus and gold-frogged costumes (by Hugh Colman) gleamed as the corps de ballet executed intricate geometric patterns with polished synchronicity.
Principal artists Joseph Caley and Robyn Hendricks led with assured flair while embodying Balanchine’s grandeur and stylistic clarity with effortless beauty. A further five soloists featured to add further depth and detail, weaving through and centring the piece with gentle touches of drama. As an immensely intoxicating smorgasbord of classical ballet, the work’s 40 minutes flew by all too quickly.
Start to finish, Orchestra Victoria under the baton of Jonathan Lo were no mere afterthought and proved an equal partner in the storytelling. The playing was bold when required, tender when it mattered most – with brass and percussion particularly strong in igniting climactic moments. And, special mention must be made to pianist Andrew Dunlop in shaping Tchaikovsky’s concerto with immense sensitivity and sweep.
More than a showcase, Signature Works was a heartfelt affirmation of shared artistry, warmth of unity and boundless passion. From this side of the proscenium, the company looks healthy, happy and confidently capable of delivering – a splendid report card anyone could wish for.
Signature Works
Regent Theatre, 191 Collins Street, Melbourne
Performance: Saturday 28 February 2026 – 7.30pm
Season: 28 February – 1 march 2026
Information: www.australianballet.com.au
Images: Artists of The Australian Ballet in La Bayadère, The Kingdom of the Shades (Petipa) – photo by Kate Longley | Amy Ronnfeldt and Jeremy Hargreaves in This Moment (Masukawa) – photo by Kate Longley | Artists of The Australian Ballet in Ballet Imperial (Balanchine) – photo by Kate Longley
Review: Paul Selar