Queensland Ballet’s Triple Bill is an exhilarating showcase of three exceptional choreographers: Jack Lister, Natalie Weir and Greg Horsman. Featuring breathtaking live music from Camerata – Queensland’s Chamber Orchestra, this is a not to be missed night at the theatre.
Up first is Jack Lister’s Gemini, a brand new work described as a subterranean gathering that harnesses both the earthly and the divine. The overture begins as one might expect from a classical ballet work: safe and pretty. But then the strings ooze off the notes, discordant. One could almost be forgiven for thinking it was a slightly out-of-tune moment. When it happens again, though, it’s clear this is going to be anything but a safe and pretty ride.
Soloist Taron Geyl is on stage first, writhing and otherworldly, and he is soon joined by 21 dancers, all barefoot and dressed in white vests with built-in six packs over beige leotard briefs. This enables a rare glimpse of the male dancers’ bare legs, all sinew and muscle.
A long strip of fluorescent white lighting slowly rises from behind the dancers to sit low overhead. This starkly contrasts against the all black stage, occasionally blasting a neon wash of amber and other colours down onto the dancers.
The use of partner work and symmetry contributes to a visually striking performance, one which can only be described as utterly mesmerising. I always watch Lister’s work with a smile on my face; he never disappoints, and I am a huge fan. Louis Frere-Harvey’s score turns Symphony No. 9 From the New World on its head, and at times, especially when the horns kick in, it feels cinematic, like something from Interstellar.
The words ‘bold’ and ‘boundary pushing’ feel somewhat overused these days, but for Jack Lister’s works, they absolutely apply. Combined with Frere-Harvey’s treatment of Dvorák’s score, Alexander Berlage’s lighting and Zoe Griffiths’ costumes, they work together to create a compelling and dramatic new work and another triumph for Lister.
The next two works aren’t new, but this reviewer has never seen them before, so they may as well be. Natalie Weir’s 4Seasons is inspired by the music of Vivaldi, with excerpts reimagined by Max Richter. It depicts four couples at different stages of their lives together, symbolising life’s journey through the four seasons. 4Seasons was originally created in 2013 as a collaboration between Expressions Dance Company (now Australasian Dance Collective) and Singapore Dance Theatre (now Singapore Ballet).
An ensemble of 20 dancers, all partnered in matching costumes of rich colours designed by Bruce McKinven, swirl about the stage. Partner work abounds and is impressive; the tone of the work feels romantic and dynamic. I particularly liked the way the group would almost unfurl off the stage like a cluster of leaves in the wind to reveal each pair of soloists, starting with Spring and working through the seasons.
The seasonal duos are bookended by pas de deuxs en pointe. As Spring, Chiara Gonzalez is resplendent in golden yellow alongside partner Joshua Ostermann. Their dance is a highlight of the piece. D’Arcy Brazier and Heidi Freeman represent Summer, and this season is stormy and dramatic. The pair wear port wine coloured costumes and are supported by a high energy solo by Ivan Surodeev.
Edison Manuel and Georgia Swan slow the pace down for a dreamy Autumn wearing bright red. Vito Bernasconi and Yanela Pinera complete the seasons with Winter, wearing dramatic black and silver. Joshua Ostermann appears again here with a solo. 4Seasons culminates in a lively and memorable finale delivered brilliantly by the group, the audience shouting hearty ‘bravos!’ at the piece’s conclusion.
The night’s final piece is Greg Horsman’s A Rhapsody in Motion, originally created in 2022 for the fifth season of Bespoke. The work explores technical precision and emotional resonance, drawing on Rachmaninoff’s Rhapsody on a Theme of Paganini for inspiration.
Featuring a big cast of 24 dancers with all the ladies en pointe, the work itself is split into three parts. The first section pays clever homage to the ballet barre and is playful, spirited and technically impressive. The stage feels large and open, with Matthew Marshall’s lighting filling the back screen with neon washes. At first blue, it moves through magenta, purple and orange.
A highlight of the emotive second section is the pas de deux to the iconic Op. 43, which sees the orchestra swell to life and beautiful dancing between Neneka Yoshida and Vito Bernasconi.
Zoe Griffiths’ costuming could best be described as all the colours of a rose, and the third and final section sees the ladies burst on stage in magnificent sparkling tutus.
The male dancing has a chance to shine here, and once again it is soloist Ivan Surodeev who commands the stage. Another young dancer who caught my eye is Frederick Montgomery. His stage presence and energy are as huge as his leaps, and his work here confirms he a Company Artist to watch.
It would be remiss to think that a trio of dance works is inferior to a full-length blockbuster ballet. Triple Bill may not feature lavish sets, but with dancing this good, it doesn’t need them. Dance lovers should not miss this exciting season from Queensland Ballet.
Triple Bill runs for a limited season until 5 July at the Playhouse, QPAC.
Tickets: https://queenslandballet.n.qtix.com.au/tickets/series/qbtriplebill25
Website: https://www.queenslandballet.com.au/
Socials: https://www.instagram.com/qldballet/
Photo credits: David Kelly
