Ballet Theatre Queensland’s highly anticipated world premiere production of Snow White opened Thursday to an enthusiastic yet spellbound audience. Snow White is BTQ’s largest production to date, and is a brand new work featuring an original score by Lucas D. Lynch and all new choreography by Clare Morehen. Together the pair have lovingly adapted the story, based on Grimm’s classic fairy tale.
Ballet Theatre Queensland was formed in 1937 and offers professionally staged performance opportunities for promising young dancers in South East Queensland. It would be a mistake to assume that this might be an inferior production simply because most of the dancers are young. In short, Snow White holds its own (and then some) alongside anything you might see on the QPAC main stage. Quite simply, it is an unmissable production for lovers of ballet, new works and full scale live theatrical experiences.
The statistics alone are worth noting. A team of 250 creatives, volunteers and artists have brought this production to life. There are 81 young dancers in the cast including three professional guest artists. There are two groups of 24 young choristers from the Voices of Birralee appearing live on stage to sing at key moments. 41 musicians from the Cadenza Chamber Players perform the original score. The dancers appear in more than 150 exquisite costumes designed by Rebekah Ellis, and there are 400 individual pieces of accessories, headpieces and wigs. This review won’t be able to cover absolutely everything that was spectacular about this production as there’s simply too many things to mention!
Snow White is a narrative ballet and the creative choice by Lynch and Morehen to focus on the acting and storytelling above all else was an excellent one. Also serving as the Conductor, Lynch’s original score entranced from the opening bars and was unapologetically cinematic. Snow White’s melodic motif, which recurred throughout the ballet, was particularly noteworthy, evoking pathos and beauty.
As Young Snow White, Ivy Noonan stole hearts as soon as she stepped on stage. It was a joy to watch such a young talent, and our collective hearts broke for this sweet young girl who loses her mother so unfairly. Lillian Richmond was impressive as the beautiful Queen Lillian, mother of Snow White, who tragically succumbed to an untimely illness in the Prologue.
Cue the wicked stepmother. As the Evil Queen, Sophia Gougoulas commanded the stage and was almost cat like in her movements. The choice to keep her in black, even on her wedding day, was a great one. The audience revelled as she took her place inside the family portrait, closing her claw like fingers around the shoulders of the innocent young Snow White.
As grown up Snow White, Caitlin Volker was the epitome of purity, beauty and goodness. A girl who loved to read and play with her friend, William (guest artist Jordan Lennon), Snow White made the world better simply by being in it. Volker was outstanding in this role, and I look forward to seeing more from her in the future.
In this production, the seven dwarfs were replaced by seven pixies, and they made a charismatic group. Marigold, the Merry, was cheerfully played by Indira O’Neill, in yellow. Canna Lily, the Immuno-Sensitive, formerly known as Sneezy, was delightfully played by Escher Kenzler, dressed in orange. Peony, the Timid was sweetly played by Chloe Thomas, in pastel pink. Poppy, the Muddled, formerly Dopey, was charmingly played by Ima Sol Henriksen in fuchsia. Lavender, the Drowsy, was humorously played by Olivia Cabral Gomes, dressed in purple. Cudweed, the Cranky, formerly Grumpy, was expertly played by Mae Labagnara, dressed in green. And Doc, now known as Globe Thistle the Book Worm, was played with whimsical delight by Chelsea Legge, in blue.
The group worked beautifully together, and their scenes with Volker in the cottage were delightful, especially the ones involving the glitter bath.
Choreography by Clare Morehen was stunningly executed, and one really needs to see this ballet a second time to fully absorb all the moments. It was a thrill to watch the large groups of dancers moving together on stage with such expert precision. I especially loved the sequences using the stools, the symmetry was an amazing visual experience.
The creative choice to use dancers in full black veils to represent the trees of the Forest was genius, and special mention must go to the Intermediate and Senior dancers who made up this group. The Queen’s Ghouls were another eye catching ensemble. With wild hair and skull masks, they evoked something out of Beetlejuice and were a welcome addition to the overall theatricality of the production.
Also of note were the Junior Apprentice dancers who played the Fireflies, an adorable group with their neon wings and light up headpieces. Every group, regardless of age and skill level, moved with professionalism and purpose when on stage.
The set, designed by Bill Haycock, was another marvel, and consisted of a moveable structure that transformed from the fractured world of the Evil Queen to the organic world of the Pixies. The magic mirror, which broke apart for reflection reveals and reformed again, was an effective device and the artists involved in managing this did a fine job.
Sound and Lighting by Wil and Glenn Hughes complemented the production and brought the fairy tale world to life. Of note were the small touches such as the eerily dripping sounds in the Evil Queen’s domain, and the gentle buzzing of insects in the woods.
The Queen’s Army, made up of a combination of Junior, Intermediate and Senior Dancers, had a magical costume moment in the Liberation scene in Act Two which I won’t spoil. It was an unexpected thrill and a highlight, bravo to all involved.
The future looks exceptionally bright for the team at Ballet Theatre Queensland, and I’m already making a note of their next production, Cinderella, in July. Auditions will be held on 8th and 9th February and are open to young dancers aged 8 and up.
Snow White is everything one hopes for when heading out for a night at the theatre. It is a captivating new work that seamlessly blends enchanting choreography, a stunning score, and heartfelt storytelling. Snow White a must-see production for all ages – don’t miss the chance to experience this spellbinding premiere performance.
Snow White is on now and has a strictly limited season running until 26 January at the Concert Hall, QPAC.
Tickets: https://www.qpac.com.au/whats-on/2025/btq-snow-white
Website: https://btq.com.au/
Socials: https://www.instagram.com/ballettheatreqld/
Photo credits: Kate Taylor, Quince & Mulberry
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