The Australian Ballet’s double bill Études / Circle Electric is a thrilling demonstration of the versatility and excellence of our national ballet company. Circle Electric, a new full-length contemporary work choreographed by Stephanie Lake, has been placed beside Études by Harald Lander, a seminal classical work, originally created in 1948.
The theatre was buzzing with opening night atmosphere as David Hallberg briefly welcomed us and celebrated the significance of premiering Stephanie Lake’s major work in her home town.
Circle Electric explores “the paradox of human existence – our often complete insignificance as human beings in the scheme of things, juxtaposed with the profound impact we have on the lives of those we love and those who love us.”
The inventive set (Charles Davis) and lighting design (Bosco Shaw) cleverly frame the opening moments in a ring of light, which re-define and angle the dancers’ space and levels, creating separate worlds and perspectives to move over, under or through. Restrained costuming (Paula Levis) seamlessly balances a sense of connection with a sense of individual differences.
Orchestra Victoria delivered Robin Fox’s score with gusto and precision, even sparing two percussionists for vibrant moments among the dancers on stage.
Beginning with 10 dancers in a circle of light, sounds of dawn and nature seem to come from a world floating in the universe interspersed with cataclysmic sounds that accompany leaps of evolution until consciousness emerges. The dancers could be amoebas in a petri dish or life on a planet evolving and dissolving in an endless cycle.
From this planetary perspective, Lake delineates the human experience. Concepts of individuals, societies, relationships and connections build and dissolve through fluent, tender and exuberant scenes. Sophisticated moments of pathos and wry humour are scattered through the work as the dancers embody complex and inventive partnering and invest fully in their expressive freedom. They release fully into gravity, whirl and fling with dynamic precision, vocalise and show focused abandon and supple fluency.
The duo and solo moments were riveting, with all of the featured dancers intense and individual in their presence. This work is testament to the adaptability and extraordinary movement capacity of this company and its dancers.
Every aspect of Circle Electric is cleverly layered to create symbolic messages, building the pace and using satisfying moments of surprise to humanise the work and connect us with its message and dramatic conclusion. While at times it might have benefitted from some concision and a more complex range and use of group structures in the massed scenes, this work effectively delivers its message: all existence is made of energy and that energy is never really lost, but continuously transformed.
Études comprises the second half of this program. Originally choreographed by Harald Lander in 1948, this current version remains a testament to more than technical brilliance; it also revels in the artistry, bravery and freedom dancers develop in the achievement of such skill.
Études follows the stylised progress of daily class as it builds from barre work to centre practice, on to allegro and pas de deux.
Beginning with a solo dancer amidst a setting of Corps de Ballet, the simplest of actions are revealed in all their difficulty. Multiple barres on stage allow for clever synchronising and contrasts that create harmonious patterns and musicality. Initially, the bodies of the dancers in black tutus remain unlit, allowing us to see hints of the upper body, but the true joy here is the expert foot and leg work of each dancer.
A series of short studies quickly escalates with tight pauses and breaks introducing ever more complex and varied practices. At all times these opening sequences were delivered with aplomb and pride, the corps de ballet setting a flawless standard of performance.
Ako Kondo, Chengwu Guo, Joseph Caley and Jarryd Madden led the ensemble with stunning control and confidence; however, this by no means undervalues the power of the whole company. This work demands fearless delivery and sureness of success from all, and the company delivered that in spades. The uniform musicality, style and accuracy quickly became a given, with one standout being the pirouettes and fouettés, brilliantly danced with unbelievable synchronicity and power. Bravo!
The excitement of the allegro sections with daring leaps and crisp, complex batterie was equally skillful. The legacy of Bournonville’s style, delighting in the use of ballon, musicality, changes of direction and épaulement, elevating the hidden difficulties of this work was evident.
Despite the somewhat constrained depth of the stage, the company managed the formations and stagings with total accuracy of lines and timing throughout, beautifully couched in the stunning Regent Theatre.
This evening’s Études was practically flawless. A special night where technical excellence meets exuberance and zest.
These works are a wonderful pair, their diverse excellence bering a testament to the vision and quality of The Australian Ballet.
Photo credit: Kate Longley
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Steven McTaggart reviewed “Études / Circle Electric”, presented by The Australian Ballet at the Regent Theatre, Melbourne on October 2, 2024.
