Ballet / The Nutcracker Act 11 and other works, The Australian Ballet. Orange Civic Theatre, June 28. Reviewed by BILL STEPHENS.

This is a year for celebrating dance milestones. The Canberra Theatre Centre last week marked the 60^th year of its establishment by presenting The Australian Ballet’s production of Carmen.

The Orange Civic Theatre is also celebrating 50 years since its establishment with a program by The Australian Ballet; The Nutcracker Act 11 and other works.

And to add further to the synchronicity, it is with this program that the Australian Ballet is having its own celebration: 40 years of touring regional centres with programs featuring dancers of the Australian Ballet together with dancers from the Australian Ballet School, for which the centrepiece is a re-imagining of The Nutcracker Act 11 by former Canberra dancer and choreographer, Paul Knobloch.

I was fortunate to be able to attend both performances of this program, which began with a sparkling performance of George Balanchine’s Allegro Brillante, a ballet which the choreographer famously described as being “everything I know about classical ballet in 13 minutes”.

Balanchine’s ballet demands strong dancing and precise timing as it explores choreographic development. It compresses extended classical vocabulary into restricted time and space.

Performing to Tchaikovsky’s Piano Concerto No. 3, with Belle Unwin and Alain Juelg (matinee) and Samara Merrick and Henry Berlin (evening), dancing the virtuosic principal roles; the 10 dancers performed the ballet with such joie de vivre that the challenging intricacies simply looked like fun.

Another Balanchine masterpiece followed. This time the grand pas de deux from Diamonds, the third act of his masterpiece Jewels. Stylishly performed by Mio Bayly and Adam Elmes (matinee) and Alexandra Walton and Harrison Bradley (evening), both couples invested the demanding choreography with the solemnity and attention to detail befitting its Imperial Russian style.

Both ballets were enhanced by being danced in the elegant costumes designed for them by Balanchine’s renowned designer, Karinska.

A complete break in style came with Ground Control a new work created specially for this tour by Lucy Guerin.

Four dancers, Alexandra Walton, Belle Unwin, Harrison Bradley and Alain Juelg (matinee) and Samara Merrick, Mio Bayly, Henry Berlin, and Adam Elmes (evening) evening, displayed their versatility by demonstrating Guerin’s playful exploration of how to exist between the pull of gravity and the effort to escape it.

Ground Control began with the four dancers, each costumed individually by designer, Kate Davis, absorbed in executing movements to a persistent driving soundtrack.

Their activity was interrupted by a red veil floating from the ceiling, heralding sounds from a heavenly choir and a complete change of mood and movement style.

One couple performed a pas de deux entwined in the veil, then the others joined in for a series of solos and group dances until the work resolved in a mesmerising conclusion.

As captivating as it was unexpected, the work received enthusiastic responses from both audiences.

The major work of the program was Paul Knobloch’s enchanting re-imagining of Act 2 of The Nutcracker.

Grounding his choreography in the Petipa original, Knobloch has refashioned the familiar second act of this ballet favourite into a stand-alone work clarifying the storyline to be enjoyed without knowledge of the events that originally led Clara visit to the Kingdom of the Sweets. He has also reworked the character dances so that Clara participates in them rather than simply observing.

Kat Chan’s pretty, abstract setting frames the activity, with a lavish appearance being achieved by interpolating historic costumes designed by Kristian Fredrikson, Hugh Colman and Hugh Laing for previous productions among lovely new costumes designed for the Floral Fairy, the Mirlitons and others by Louisa Fitzgerald.

The character dances were thoughtfully restaged, and beautifully danced to produce many stand-out moments. However, Gracie Clark’s rendition of the Arabian dance was particularly extraordinary at both performances. Her serene presence and beautiful line, along with the attentiveness of her attendants Paddy Lum and Rory Taylforth made this divertissement a captivating highlight.

Based on the talents demonstrated by these young dancers, Australian Ballet audiences can look forward to many more exciting performances like these in theatres around the country.