Electronic dance

Dance instruments by the Australian Ballet

Dance instruments ★★★★
The Australian Ballet, Arts Center Melbourne, until October 1

“Tonight we’ll see what seethes and seeps into the dance,” said Australian Ballet artistic director David Hallberg.

The curtains open on Wayne McGregor Obsidian Tearin which an all-male cast dances against a backdrop of rack and ruin.

Elijah Trevitt se produit dans <i>Annealing</i> as part of the triple program <i>Instruments of Dance</i> from the Australian Ballet.” src=”https://static.ffx.io/images/$zoom_0.154%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0 /t_crop_custom/q_86%2Cf_auto/cb2ee99734361f6935bc4d978451f212a5bc01bf” height=”390″ width=”584″ srcset=”https://static.ffx.io/images/$zoom_0.154%2C$multiply_0.7725%2C$ratio_1.5 %2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_86%2Cf_auto/cb2ee99734361f6935bc4d978451f212a5bc01bf, https://static.ffx.io/images/$zoom_0.154%2C$multiply_1.545%2C$ratio_1.5% 2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_62%2Cf_auto/cb2ee99734361f6935bc4d978451f212a5bc01bf 2x”/></picture></div><figcaption class=

Elijah Trevitt stars in Annealed as part of the Australian Ballet Triple Program dance instruments.Credit:Jeff Busby

As with McGregor’s choreography, the movement is dynamic and sharp in bursts, yet fluid in other moments, playing with our expectations of contemporary ballet. Lead artist Adam Bull steals the performance, his acrobatic feats – barrel rolls, leaps and 360 degree leaps – reminiscent of Mikhail Baryshnikov in his heyday.

The room seems propelled towards destruction. Like the obsidian itself, the choreography sometimes seems dense, heavy and impenetrable. There is a dull flatness and sickling of the feet, as the male dancers are swept away in tragedy.

On the other hand, Justin Peck’s choreography in Everywhere we go has lightness in abundance. A wonderful jazzy thrill, to a score by Sufjan Stevens, the dancers casually cross the stage in nautical-themed leotards. The ballerinas run around in pointe shoes with a kind of cheesy sex appeal, pushing their butts more than ballet traditionally allows. Men walk around with what looks like bluster. Lead artist Benedicte Bemet shines, executing fast chaine turns on pointe like it’s fun.

Annabell Watt et Rohan Furnell interprètent <i>Everywhere We Go</i> in the triple program <i>Instruments of Dance</i> of the Australian Ballet.  ” loading=”lazy” src=”https://static.ffx.io/images/$zoom_0.138%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0/ t_crop_custom/q_86%2Cf_auto/9f53349108854225fd758381e581ed3bc2a7eb4e” height=”390″ width=”584″ srcset=”https://static.ffx.io/images/$zoom_0.138%2C$multiply_0.7725%2C$ratio_1.5% 2C$width_756%2C$x_0%2C$y_0/t_crop_custom/q_86%2Cf_auto/9f53349108854225fd758381e581ed3bc2a7eb4e, https://static.ffx.io/images/$zoom_0.138%2C$multiply_1.545%2C$2Cratio_1.5% $width_756%2C$x_0%2C$y_0/t_crop_custom/q_62%2Cf_auto/9f53349108854225fd758381e581ed3bc2a7eb4e 2x”/></picture></div><figcaption class=

Annabell Watt and Rohan Furnell play Everywhere we go in the triple program of the Australian Ballet dance instruments. Credit:Jeff Busby

Next we have Australian Ballet resident choreographer Alice Topp Annealed. Vulnerable and liberating, Topp’s work challenges gender roles and concepts of strength and beauty in ballet. Highlights of the piece include where the corps de ballet dances with the eerie energy of many-armed gods under chrome lighting, as they rustle and sway in the refractions.

The pas de deux, featuring Dimity Azoury and Callum Linnane, shows an exceptional connection as they draw towards each other, almost in a kiss, gentle hand drumming.