Posted on 18 November 2020 By Rose Mulready

In the kaleidescope of colour that is the ballet stage, blue glows in all its hues, from ethereal pastels to rich jewel tones. Enjoy this rhapsody in ballet blues. 

The Bluebirds from David McAllister's The Sleeping Beauty fly high in clear, fresh cerulean tones. 

Ako Kondo and Chengwu Guo. Photography Daniel Boud

The doll's tutu from Peggy van Praagh's Coppélia, which Swanilda steals to impersonate the toy when she's trapped in Dr Coppelius' workshop. The doctor has given his treasured 'daughter' a splendid frock layered in sky-blue and frothing with flowers and lace. 

Aya Watanabe. Photography Kate Longley

The soft baby blue of the simple frock worn by Manon at the start of Kenneth Macmillan's ballet signifies her youth and innocence - although she will quickly be corrupted by greed and appear dripping in jewels and furs. 

Amber Scott. Photography Lynette Wills

In the glowing blue of dusk, the weary Swallow rests at the foot of a statue. in Graeme Murphy's The Happy Prince, based on Oscar Wilde's story, the Swallow and the Prince become dear friends and give their all for the city's poor.

Marcus Morelli. Photography Jeff Busby

The Caterpillar in Christopher Wheeldon's Alice's Adventures in Wonderland© is a splendid creature, rich indigo with glittering Swarovski-strewn slippers. 

Andrew Killian and artists of The Australian Ballet. Photography Jeff Busby

The swans in Stephen Baynes' Swan Lake are dressed not in white but in the subtlest ice-blue, which makes them seem touched by moonlight.  

Sarah Thompson and artists of The Australian Ballet. Photography Lynette Wills

Prince Siegfried in Stephen Baynes' Swan Lake, regal in his sweeping blue cape. 

Kevin Jackson. Photography Jeff Busby

In Wayne McGregor's Chroma, a passage of slower, more lyrical movement is bathed in haunting twilight tones. 

Adam Bull and Amber Scott. Photography Jess Bialek

Flashback to Peggy van Praagh's production of The Sleeping Beauty, the first performed by the company. In this incarnation, the Bluebirds have deep jewel tones. 

Artists of The Australian Ballet. Photography Gregory McCloskey

The Dance of the Hours in Peggy van Praagh's Coppélia features a corps of women dressed in midnight and turquoise shades to evoke the coming night. 

Sarah Thompson. Photography Kate Longley

His blue skin tells us that Garuda, who visits Solor's opium dream in Stanton Welch's La Bayadère, is not of the human realm, but is a divine being. 

Cristiano Martino. Photography Jeff Busby

Bright peacock blue for one of the champagne-guzzling, see-and-be-seen guests at Chez Maxime in Ronald Hynd's The Merry Widow

Kelsey Stokes and Ingrid Gow. Photography Kate Longley

Cool blue with a gunmetal glitter for Artemis, the ultra-controlled hunter goddess in Stanton Welch's Sylvia

Robyn Hendricks. Photography Jeff Busby

Bathed in spectral light, Giselle's ghostly blue clouds of tulle make her appear truly a spirit. 

Benedicte Bemet. Photography Kate Longley