1I5A6839 - Showcase 2015 - Divertissement - Photo by Sergey Konstantinov The Australian Ballet Showcase 2015 Arts Centre, Melbourne: 18th September, 2015. The Australian Ballet School showcased their talent at the Arts Centre in Melbourne last Sunday evening. From the awe-inspiring ballet spectacle to the damp, confronting tales of lyrical contemporary, this performance levelled the professional scale. With a male dominated cast, the dynamics of the arrangements were a thrill to watch. The five-act showcase began with the premiere of Divertissement, a 45 minute traditional ballet featuring levels 1-8. It was clear the stage was slippery, there were numerous falls out of pirouettes. However, dancers gained confidence later into the piece. Each graduating student shared the spotlight and were commended on their performance by the audience’s applause. Wiyabel mirrored much of Bangarra’s Indigenous flair with strong use of masks and tribal body language. The story envisioned a love-struck girl, Monty whom her three sisters go to extreme measures to stop her being happy. Marking the sisters’ vengeance they had drawn black veins on their backs. Jesse Martin’s modern and Indigenous influence made this piece a stand out. Invisible Icon was last performed at Morning Melodies earlier this year and definitely improved since last I saw. The only female dancer carried herself in the dominating and masculine role, executing her movements to near perfection. The male cast surrounding her were graceful during lyrical pas de deux, almost creating an inversion of the sexes. The tribal music allowed Margaret Wilson’s choreography to be grounded and heavy, but also contrasting with the spring of clicks and head bops in the lighter sections. The tension mounted as the audience impatiently waited for Graeme Murphy’s Grand piece. With an on-stage pianist as the sole source of music, the simplicity of the piece was a delight to watch. Murphy adopted circular body shapes and pas de trois to aid the theme of the ‘unseen’ support that humans need when in grief. This piece is dedicated to Murphy’s mother, Betty a talented pianist who passed in 2004. The male cast of The Warriors concluded the evening with a centenary tribute to the ANZACs of Gallipoli. First performed in 1989 for The Australian Ballet School’s 25th anniversary gala, this piece reflected the larrikin-ism between the boys, and their bravery. The solemn ending of the drum beat and the white crosses were reminiscent of the ANZACs bravery. The classicalism was taken away just enough to balance the ‘manliness’ and the ‘gracefulness’ of the piece. The talent pool of the students reflect the level of quality of teaching and support from Director Lisa Pavane. Every student has a bright future ahead as they hope to become an accomplished dancer.

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