Queensland Ballet’s annual Bespoke program is a triple bill of brand-new contemporary work that includes Katina Olsen’s gundirgan, wise woman, Milena Sidorova’s Birds of Paradise and Jack Lister’s Papillon. Now in its seventh year, Bespoke is an exhilarating opportunity to see elite ballet dancers perform in dynamic, contemporary settings, and the 2024 season did not disappoint.
The first piece, gundirgan, wise woman, by Katina Olsen, celebrated the extraordinary life of Wakka Wakka elder Aunty Maureen Williams, a fierce education advocate from the mid-20th century. With live musicians onstage from the Southern Cross Soloists including Aunty Maureen’s grandson Chris Williams on the didgeridoo, gundirgan, wise woman was Queensland Ballet’s inaugural First Nations work.
Composers Williams and Seán O’Boyle AM created a powerful score, opening with the sounds of didgeridoo and instruments evoking forest noises and birdsong. As Aunty Maureen, guest soloist Tara Robertson drew us into the world of the Ban Ban Springs alongside an ensemble of eighteen company dancers. Through meaningful choreography developed with cultural guidance from key family members, the piece journeyed through Maureen’s life in domestic service, hard yakka, and the Longreach showgrounds. As per the Williams family’s request, there was a poignant remembrance section featuring Maureen’s image where tuneful snippets of ‘The Lord is My Shepherd’ and ‘Amazing Grace’ were featured.
Costuming, designed by Noelene Hill, featured unisex all-white outfits with an earthy streak of either red, blue or green. The finale saw Williams move downstage to join Robertson as together they beheld the family’s future and never-ending possibilities.
The second piece, Birds of Paradise, by Milena Sidorova, was a beautiful yet cheeky examination of the universal themes of attraction and connection, viewed through the lens of the bird world. Featuring a rich, sky-blue backdrop and a bare stage except for a lamp post and a colourful bird sign on wheels, five male dancers in brightly coloured jackets competed for the attention of five female dancers, wearing earthy minidresses with bird-like sleeves. Costume design, by Sidorova and Timothy Corne, felt reminiscent of the often-muted colours of the female bird species versus their iridescent male counterparts.
Across the board, the dancing was exceptional. The piece was executed in sections, each one with a clear shape, rhythm and energy that was punctuated by the varied musical score. There were refreshingly humorous moments, particularly the muscle-flexing scene led by the aptly named Luca Armstrong. The ‘60s classic ‘Dream a Little Dream’ is the song likely to be stuck in your head the next day, and the accompanying hide-and-seek duet between Chiara Gonzalez and Alexander Idaszak with the revolving colourful sign was a highlight. Principal Artist Neneka Yoshida’s dancing was technically outstanding, and her Valsa Duet alongside Edison Manuel was impressive.
The third piece, Papillon, by Jack Lister, saw a Talbot Theatre stage completely opened up and stripped back: we could see the three back walls of the structure that housed the stage, along with all the technical equipment. The set had a palette of blacks, whites and greys which created an overall industrial-like atmosphere and included a big sail-like curtain at the back that was slowly lowered to the ground and then raised again. This monochrome effect helped emphasise the rich colour and texture of the dancers’ costumes, designed by Lister and Zoe Griffiths. Slightly unique to each dancer, they included velvety leotards and fluffy three-quarter pants in bright shades of green, blue, purple, rust and silver.
Adding to the sense of danger the score evoked were the dancers who slowly walked amongst the fly space overlooking the stage. As the piece grew in intensity, each of the twelve dancers came together. Partner work by featured dancers Annabel McCoy and Taron Geyl was particularly outstanding, with Alyssa Park and Joseph Moss also doing some great work together. The synchronicity across the ensemble was excellent, and Lister’s choreography could best be described as frenetic, energetic and pulsing. Ben Hughes’ lighting helped emphasise the drama, the strobe effect was a standout moment.
The cast of Papillon consisted of the Jette Parker Young Artists and the Pre-Professional Program dancers, some of the youngest members of Queensland Ballet. The group was technically outstanding in this contemporary genre, and once the beat of Louis Frere-Harvey’s score kicked in and they all came together, I could feel how much these young ballet dancers enjoyed performing this high-energy piece. Metamorphosis complete.
Queensland Ballet’s Bespoke was ground-breaking, brilliantly executed, and entertaining. Lovers of compelling and innovative dance and dance theatre do not want to miss it.
Bespoke is on at the Talbot Theatre, Thomas Dixon Centre until 3 August 2024
Sarah Skubala
Other reviews you might enjoy:
- Coppélia (Qld Ballet) – dance review
- La Fille mal Gardee (QB) – theatre review
- The Nutcracker (Queensland Ballet) – dance review
Sarah Skubala is a freelance writer and has lived in Highgate Hill for several years. Originally from Adelaide, Sarah has a background in library work and musical publicity. She co-executive produced the award winning short film Down To Earth and has written a comedy short screenplay. She is currently working on a web series and a novella. Sarah is a fixture in West End and can be found wherever there is good coffee and cheap books.
