Queensland Ballet: Flourish

Ensemble shot from George Balanchine’s Serenade. Image supplied by David Kelly.

Bringing together an impressive array of creative forces, Queensland Ballet’s Flourish will delight a seasoned or novice audience. Artistic Director, Li Cunxin, now enjoying his second season with the company, showcases varied styles across four individual pieces, from traditionalist to contemporary.

Draped in indigo moonlight and romantic tulle, the show opens with the exquisite Serenade, remembering the iconic style of choreographer George Balanchine. First performed in 1934 by New York City Ballet, Queensland’s dancers rise to the challenge and recreate Balanchine’s geometric poetry with his iconic formations. Principal Meng Ningning is as always a joy to watch, bringing her weightless execution and signature style to this challenging masterpiece.

Plucked form the classical era, La Esmerelda Grand Pas de Deux follows. Charismatic performers, Teri Crilly and guest Dmitry Zagrebin give a playful performance with charming stage chemistry. Both seize solo opportunities to display their terrific talent, with Zagrebin sweeping the stage with extraordinary strength and showing why he is such a sought after performer.

Contemporary and intense, Short Dialogues is most certainly a stand out piece, on every level. While the choreography — premiered in 2011 by Queensland Ballet — is only in its infancy when compared to Serenade and La Esmerelda Grand Pas de Deux, Short Dialogues holds its own among such esteemed company. With a haunting score (Concerto for Violin and Orchestra, Philip Glass) and hypnotic, yet at times unexpected choreography (Nils Christe), the performance centers around three exquisite pairs, and explores their relationships. The couples appear from the mist, floating on and off stage as if entering and exiting a dream. Their simple costumes allow the other stage elements to speak for themselves. Moving and intoxicating, Short Dialogues will continue to speak long after curtain close.

While Bolero is by far the most unexpected and intriguing performance, it also the least polished. The music by Maurice Ravel is reinterpreted in an almost industrial, futuristic piece. With a powerful, abrasive opening the audience is drawn into a steel world with an atmosphere as frightening as Orwell’s 1984. As the intensity eases and the mood lifts, Queensland’s dancers tackle some challenging choreography. The complex ensemble work tests their synchronization, but the piece in is entirety still achieves enormous effect.