The combination of the new and the old is intoxicating in The Australian Ballet’s double bill Etudes/Circle Electric. Up first is Circle Electric, which combines modern dance, ballet, sound and light to create a maelstrom of movement, majestic and, at times, harried. I was totally sold on choreographer Stephanie Lake’s first full length commission for The Australian Ballet. Call it circle work, in the nicest possible way, if you would care to for in large part dancers work under a large lit circular ring, which moves up and down and pivots.
Dramatic music and natural sound are important components of the offering, as is friendly chatter, argument and accusation. Composer Robin Fox has done a mighty job, mixing the loud with the soft. Circle Electric starts with dramatic stings, which set the tempo of the work. Paula Levis’ costume design stands tall from the outset, when large black circles on a neutral background draw our attention to the performers. With birds chirping in the background, one is incessantly scratching her stomach. Is this the dawn of man (as we are so closely related to apes)?
As time passes, Circle Electric becomes increasingly sophisticated. Players are at one and then at loggerheads. I appreciated the variations that Lake introduced into the offering. Everything felt fresh and exciting. My mind was whirring. Like much of dance, it is interpretative. The program notes refer to the paradox of our existence – how we can be both utterly insignificant and profoundly important. To me, Circle Electric is a work of grand note, of beauty and defiance. It points to the creativity and excellence of the full company, exemplary in their execution throughout.
After interval begins a masterclass of what ballet is noted for. That is Etudes, which translates from the French as “studies”. It features dancers who are on a journey to master techniques of their craft. It shows the training, the work and the dedication needed to reach their full potential and, then, what that looks like fully formed. To put it crudely, it is about the grind and the gain, and it is such a marvellous production.
Choreographed by Harald Lander to the sublime music of Carl Czerny, arranged by Knudage Riisager, Etudes was created in 1948 for The Royal Danish Ballet. It was first performed by The Australian Ballet in 1986 and has remained in its repertoire ever since. That is just as it should be for it showcases the process of development of the ballet dancer to achieve sublime virtuosity.
What stands out is the grace and elegance of prima ballerina Ako Kondo. She – alongside other principals Joseph Caley, the high leaping Chengwu Guo and duet partner Jarryd Madden – soars. Put simply, Etudes is scintillating, with the pirouette front and centre, its impact profound. Artistry par excellence is complimented by the endeavours of Orchestra Victoria.
There is no doubt in my mind that Etudes/Circle Electric helps elevate the art form, reaching out to the next generation, while satiating traditionalists. Two hours 10 minutes, including interval, it is on at Regent Theatre, Melbourne until 9th October, 2024.
