In previous years, The Australian Ballet have set aside one slot in their programme for a contemporary triple bill, often containing one or two well-known contemporary ballets (Forsythe's In The Middle, Somewhat Elevated being an example of this in 2016) and a newer or lesser known work. Their 2017 iteration of this programming slot was Faster, which I was lucky enough to see on Wednesday night. The three ballets performed were David Bintley's Faster, a world-premiere of Australian choreographer Tim Harbour's Squander and Glory, and Wayne McGregor's Infra. What always excites me about these contemporary triple bills is the way in which the company and dancers are so physically suited to modern ballet, and Wednesday evening's performance was no exception.
The Australian Ballet is a wonderful company, and keeps going from strength to strength, with international tours and exciting programming choices - their 2016 production of Nijinsky was a bold move, and utterly exceptional. I believe what makes the company particularly suited to contemporary ballet is their penchant for dynamic and expansive movement. There is a physicality to the dancers of The Australian Ballet that is uniquely Australian, and a broadness and openness to their performances that is delightful to watch. In performing contemporary ballets, the company is able to make a distinctive mark on these works, contributing unique interpretations and vocabularies of movement. For a company with an older subscriber base, the bold modernity of these contemporary ballets is thrilling, and very attractive to a younger and more diverse audience.
David Bintley's Faster was choreographed in honour of the 2012 London Olympics, and depicts, in quite an entertaining and tongue-in-cheek way, some of the different olympic sports. Highlights here include a pas de trois of 'aerialists' (encompassing gymnastics and diving) danced by Amber Scott, Richard House, and Nathan Brook - particularly notable were the unusual and very difficult lifts, and the grace and fluidity with which they were executed. Fencing made an appearance during the performance, as did basketball and synchronised swimming, and a very funny race walking cameo. The ballet ends with a full-cast marathon, led by Brooke Lockett, that is both dynamic to watch and a thrilling and uplifting finale. What I found most interesting about Faster however, was the way in which it emphasised and celebrated the raw physicality of the dancers, in an art form that often aims to transcend the limits of the human body. The was a ballet that emphasised and articulated the capacities of the body, both in its subject matter and the way in which it was choreographed. To my mind, this made it quite fresh and unusual, and a delight to watch.
Squander and Glory was a complete change of tone. Performed in front of a massive Richard Serra-esque angular rust coloured sculpture, which was visible behind a large mirrored panel, this ballet was almost mathematical in its focus on angularity and iterations, with the audience never quite sure how many dancers were on stage at any one time. For an art form rehearsed almost exclusively in front of giant mirrors, they are infrequently used in staging, and the effects of being able to see both the front and back of dancers, and the multiplying illusions of limbs and bodies were quite powerful in performance. Harbour's choreography seemed to unfold in beautiful, complex, and unusual ways. Almost imperceptible fouettés were used to shift perspectives and shapes in pas de deux, and passages of synchronisation within the corps created striking stage images. There was continuity between the giant sculpture that dominated the set, and the vocabularies of movement within the choreography. Part way through, the lighting shifted suddenly and the audience became visible in the mirror that ran across the back of the stage. Whilst I'm not sure if this choice added to my interpretation or comprehension of the work, it was beautifully executed, and something I've not seen in a ballet before.
Whilst Harbour's choreography unfolded, Wayne McGregor's in Infra seemed to unspool from points of congress and physical connection, in what was an intoxicating and elegiac work, and probably my favourite of the night. In this ballet McGregor collaborated with artist Julian Opie, who created a large screen running across the top of the proscenium, with traffic signal-esque figures walking backwards and forwards. The ballet is performed under this screen, a literal tribute to the title 'infra' (as in 'under' or 'below'), and a figurative reference to the work as existing in the realm of emotional human experience below the facade we present on the street. The score, by the incomparable Max Richter, maintains these multiplicities and contradictions in its oscillation between electronic soundscapes and lyrical string passages. The performances here are exceptional - honest and emotionally rich, physically assured - the dancers inhabit McGregor's choreography beautifully. At one point, Opie's screen becomes actualised on stage, as dancers in street clothes walk back and forth across the space in the same way that the projections have been wandering around above the stage. It's a moment that is both choreographically sound, as well as dramatically effective and complex. This is a truly beautiful work.
As per usual, Orchestra Victoria played magnificently (the string music in Squander and Glory was particularly challenging, and beautifully handled) and the lighting across all three ballets was interesting and effective. Contemporary ballet can be a hard sell, especially for people who don't often attend the ballet and are attracted by the pointe shoes and tutus of classical work. It's therefore wonderful that The Australian Ballet has signalled, through conscientious programming, an intention to celebrate and promote contemporary ballet. This show was warmly received by the audience, and I look forward to more of this invigorating and challenging work from the company in the future.