An Introduction to the Ballet

I wrote this for Ausdance 

http://www.ausdancensw.com.au/IntroductionToTheBalletLynneLancaster/1658/2/3/0/0/

INTRODUCTION TO THE BALLET

THE AUSTRALIAN BALLET SYDNEY OPERA HOUSE  

Lynne Lancaster |  14 November 2012

Part of the excellent Australian Ballet education programme, a fascinated and entranced audience mostly of huge groups of delighted school children followed the daily life of a professional dancer from class to performance.
As we entered we were able to watch class on stage. (At times I wondered how the dancers could hear the piano with the noise from the audience!). From first warming up plie to flying jetes at the end we saw the daily class and work a dancer needs to do to keep in top form. Eagle-eyed David McCallister, the artistic director, in stage manager black, gave the class. About half of the company were packed onto the stage, some of the dancers using the set as a barre. (The other half of the company was doing class in another studio). The dancers had to be very quick to pick up the given enchainment’s in ballet French and often ‘marked’ them with their hands first .Sometimes McCallister gave a quiet individual correction/suggestion , at others a general comment ( e.g. on a particular balance or holding a line for example) . The dancers were in a motley assortment of comfortable gear, most of the women wearing short floaty skirts of some sort. During the barre work some dancers stretched or repeated a particular bit of enchainment individually .In both the barre and centre work one observed an individual use of portes des bras (arms).  
At about 1130, after the barre work had finished there was a very short break while the barres were shifted and most of the women changed into their pointe shoes .Colin Easley our MC introduced himself, explained about ballet history coming from France and class being a daily part of life for a dancer and then disappeared into the wings while class finished with the centre work developing to allegro, pirouettes and flying jumps especially for the men.
After class Mr Mcallister was reintroduced and Peasley had him demonstrate the five basic positions of ballet and talk a little about the daily life of a dancer and getting into the Australian Ballet and the Australian Ballet School and what he looks for in a dancer to join the company (fine technique, musicality and being a good team player for example). As well it was stressed that ballet is extremely athletic.
While the performance of Beyond Twelve was frantically being prepared backstage, Peasley interviewed first Eloise Fryer and Jake Mangakahia about their roles in the ballet and the story of the work. He then briefly interviewed Nicolette Frailon and Brian Cousins with regards to the musical side of things and what a conductor’s role in the work is. Also mention was made that for this particular performance of ‘Beyond Twelve’ we had the two piano versions of the score, not with full orchestra as would usually occur.
Graeme Murphy the choreographer and Janet Vernon his wife and artistic assistant snuck in to the audience just before curtain up and we were treated to an exquisite rendering of his ‘Beyond Twelve’ that delighted the audience who laughed repeatedly and applauded enthusiastically ( sometimes in possibly the wrong parts ). But his awesome amazing choreography, with hints of his ’After Venice’ and ‘Daphnis and Chloe’ in particular poses won massive applause at certain moments. The Tapperinas were much fun .The pas de deux for the girl (Vivienne Wong) and the Beyond 30 (Jarryd Madden) was beautiful and the lyrical, extremely moving trio for all three selves (beyond 12, 18 and 30) in the lead up to the finale and Beyond 30 solo was marvellous. 
A wonderful way to introduce audiences to dance.    
The Australian ballet in an introduction to the Ballet Sydney Opera House 14 November 2012   
Running time 90 mins (approx)