WA Ballet: Genesis | WA Ballet Centre | Until 6th July | ★ ★ ★ ★ ½
The WA Ballet has enjoyed ten years of the Genesis project, being an opportunity for emerging dancers to explore their creativity, work in teams of their fellow peers, and challenge themselves in producing personalised showcases.
To spark their 2019 season, Genesis provides eight magnificent stories rich with emotion, strength, and elegance.
Auréllien Scannella, the Artistic Director of the WA Ballet said audiences should expect a variety of works in the presentation.
“Expect short bursts of new, fresh ideas, a mix of smooth, soft lyrical pieces and fast dynamic, edgy contemporary works.” Scannella said.
Set against industrial red brick walls, and exposed wooden beams, the modest stage brings a sense of intimacy and rawness to the eight performances of the night. As the house lights dimmed, an audible anticipation filled the room. Then, without further ado, Candice Adea’s P kickstarts the night with peculiar energy, and schisms of comedy.
Each piece presented a new chapter in the storybook of Genesis. With lighting equipment set against the barres, the proximity of the audience to the dancers, and the use of shadow and theatrics, provides an experience vastly different from the traditional ballet at His Majesty’s Theatre.
Working to the company’s advantage, the openness of the studio creates a poignant environment for the audience and exposes the dancer’s formidable talents.
Later in the showcase, Jack Whiter’s Prelude is a solo piece that explores the journey from away, to home. After the piece, Whiter explained a fondness for a solo work (of which men typically conduct), but equally liked the idea of a feminine energy. With that, the audience can expect a different dancer each night of Genesis between two male and female dancers, bringing an entirely new energy and emotion to his choreography.
The stand out of Genesis was in Craig Lord-Sole’s Presley Suite. Inspired by the ABC documentary: Elvis and Me (2015) presented by Joanna Lumley, and exploring the covers by the Philharmonic Orchestra, the piece explores life and love in all the joyful pockets they inhabit.
“When I first heard these beautiful recordings, I saw dancing.” Lord-Sole said.
The second story choreographed to Love Me Tender was a breathtaking romance – which Lord-Sole dedicates to Nicholas – and is a pas de deux between two male lovers. They admire the beauty in each other, with moments of melancholy when they are parted – yet always finding each other in the end.
The collected trilogy is a strong, emotional peace; with depth, character and insight. “I wanted to finish the work with joy, instead of hate”, Lord-Sole said , reflecting on Australia’s current political landscape, and that of the global community.
Genesis 2019 is a cavalcade of traditional and contemporary ballet; whilst examining a symbiotic relationship with rock, and jazz genres, seasoned with thrilling, comedic, and romantic overtures. It is a tasting platter of excellent, and vibrant performances, from some stand-out choreographers emerging in Australia.
Whether you’re a connoisseur of dance, or looking for an introduction to ballet, Genesis provides a storybook suited for everyone.
WA Ballet’s Genesis at the West Australian Ballet Centre until Saturday 6th July. Tickets and more information available from waballet.com.au
Joshua Haines, image Liz Looker.
