The stars shone brightly and the air was balmy at the grand opening of the West Australian Ballet Company’s new work The Wild Between Stars.
Choreographed by Loughlan Prior, the opening piece that gives this production its name, The Wild Between Stars, is a neo-classical ballet, purportedly “a journey through the infinite universe where human emotions and physical form mirror the vast beauty, mystery, and constant evolution of the Cosmos”, according to the synopsis.
Well, those program notes certainly aim for the stars. However, for this reviewer, it’s more like a pleasant stroll through a particularly well-decorated park. A bunch of very pretty dancers wearing very pretty frocks prance around the stage like wood nymphs and fairies in a scene from A Midsummer Night’s Dream. Graceful? Yes. Romantic and ethereal? Absolutely. But a “journey through the infinite universe”? Not really – more like a fun romp in the woods.
The choreography, while lovely, lacks the depth and complexity to truly capture the vastness of the cosmos. The music, though pleasant, is generic and doesn’t evoke the sense of wonder one might expect. It all feels a bit… safe. However, the backdrop and natural grandeur of the Quarry Amphitheatre definitely add to the magical woodland ambience.
The highlights are the romantic pas de deux between the two lovers (were they Lysander and Hermia? or Demetrius and Helena?) performed by lead dancers Juan Carlos Osma and Chihiro Nomura. They are formidable dancers and make a magical pair. Osma’s height, presence, rippling body and powerful ballet moves complement the more diminutive Nomura, who acts as the delicate yin to his powerful yang.
The diaphanous silver costumes, designed by Emma Kingsbury, are also particularly lovely, though “wrapped in drifting nebular clouds,” as suggested by the program, seems a tad overstated. (Who does write this copy? AI?)
The second piece, however, is far more exciting and innovative. Choreographed by Tara Gower, an Indigenous dancer from Broome, who formerly danced with Bangarra, Ripples is a glorious fusion of ballet and Indigenous dance. Innovative in form and concept, and truly thrilling to witness, it opens with a single green spotlight on a smoking conch shell.
The dancers are curled on the ground, shrouded in smoke. Powerful didgeridoo (played by Isaiah Walley Stack) rumbles with root connectedness through the audience, grounding us in the earth of Indigenous Australia. It is a stark contrast to the ethereal European prancing of the previous piece. Before the audience’s eyes, the Dreamtime calls and the dancers answer.
Gower’s choreography seamlessly blends the precision of ballet with the fluidity and earthiness of Indigenous movement. The dancers move with a power and grace that feels both ancient and contemporary.
The second piece, Bird Song is set to an exquisite composition by Mick Monolis. It begins with the magical warbling of bird call. The dancers perform a swan dance, their bodies evoke the fluttering of wings and the power, strength and majesty of birds in flight. The men wear exquisite harem pants (designed by Rika Hamaguchi), the earthy green tones of which evoke the mangrove swamps of Gower’s beloved Broome.
Gower says that Ripples explores, “The polarity of northern and southern WA, Freshwater and Saltwater, First Nations and Non-Indigenous, contemporary dance and ballet” and adds that she hopes to “find something new, promote reconciliation and celebrate our rich untold history”.
She delivers on all counts. Ripples tells a story of connection. Connection to Country, to unity and to people. It is a joyous celebration of spiritual connectedness. The enthusiastic applause at the end was an indication that Gower’s message was received loud and clear.
The final piece, Concerto Anniversary, is a flamboyant and exhilarating tribute to Tchaikovsky’s Piano Concerto Number One on its 150th anniversary. Choreographer Lucas Jervies’ statement, “This concerto, with its soaring melodies and dramatic flourishes, feels like a celebration of Tchaikovsky’s frowned-upon queerness,” gives the piece an added layer of meaning. The performance, hence, should be seen as a joyful ode to queer composers, a celebration of artistry and identity expressed through movement.
Osma’s Dionysian performance is a particular highlight. He is a vision – a bronze statue sprung to life, all smouldering glances and an undeniable charisma that radiates across the stage. Think Michelangelo’s David, but with a better turnout, a decidedly Cuban swagger and a palpable sense of sensuality.
His pas de deux with Dayana Hardy Acuña is a stunning display of masculine strength and feminine grace, a captivating interplay of power and vulnerability. Their movements are perfectly synchronised, a testament to their skill and artistry. The chemistry between them is electric.
Charles Dashwood and Alexa Tuzil also deliver a striking and dynamic show. Dashwood’s height gives him a regal dignity, while Tuzil’s clean, graceful movements provide a beautiful counterpoint. Their performance is a showcase of classical technique and contemporary flair, a perfect embodiment of the music’s energy and emotion.
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The evening is a journey in itself. While not every piece lands perfectly, the sheer artistry and passion on display are captivating. West Australian Ballet clearly has a lot to say, and the dancers say it with style, grace and absolute dedication to their craft.
The Wild Between Stars: Ballet at the Quarry
Quarry Amphitheatre
West Australian Ballet Company
The Wild Between Stars
Choreographer: Loughlan Prior
Costume Designer: Emma Kingsbury
Lighting Designer: Kristie Smith
Music: Judd Greenstein and Mark Dancigers, performed by Now Ensemble
Ripples
Choreographer: Tara Gower
Cultural Consultant: Trevor Walley
Costume Designer: Rika Hamaguchi
Lighting Designer: Kristie Smith
Music Stephen Pigram and various artists
Concerto Anniversary
Choreographer and Costume Designer: Lucas Jervies
Lighting Designer: Kristie Smith
Music: Pyotr Ilyich Tchaikovsky
Tickets: $79-$109
The Wild Between the Stars: Ballet at the Quarry will be performed until 1 March 2025.
