Unpacking Signature Works

Marius Petipa’s 19th-century ballet is as well known for its beauty as its controversy. Set in an imagined Indian fairytale kingdom, the dated cultural stereotypes portrayed in La Bayadère have seen the production removed from the repertoire of ballet companies worldwide. However, the Act III scene, The Kingdom of the Shades, remains a highly popular stand-alone work that removes any “exotic” themes and reveals the technical brilliance of a company who can perform it well.

Dressed in white tutus, 24 ghostly figures move in hypnotic repetition, performing some of the most challenging choreography in classical ballet. These ephemeral dancers are the predecessors of Petipa’s wilis in Giselle and are an opportunity to showcase the immense talent of the corps de ballet.

Australian audiences were first introduced to La Bayadère when the Leningrad Kirov Ballet performed The Kingdom of the Shades in 1973.  In 1987, The Australian Ballet debuted the acclaimed piece, and it has remained a staple in our company’s repertoire. We last performed The Kingdom of the Shades at 2021's Summertime at the Ballet and during our 2022 Australian tour.

The Australian Ballet first staged Vasili Vainonen’s Flames of Paris pas de deux during the 2004 Arts Centre 20th Anniversary Gala. The dynamic choreography of Vainonen’s work is noted for its modern interpretation of Marius Petipa’s style and blends classical ballet with character dance, showcasing the strength of the artists with its powerful lifts and gravity-defying leaps.

The original four-act ballet, Flames of Paris, premiered on 7 November 1932, at the Leningrad-Kirov Ballet and is based on the 1896 novel by Felix Gras, Li Rouge dou Miejour. The complex narrative set during the French Revolution includes references to the storming of the Tuileries Palace and the fall of the French aristocracy in the late 18th century. The physically demanding pas de deux is a wildly energetic section that captures the revolutionary spirit through the soaring jetés and never-ending fouettés.

Independent choreographer Yuiko Masukawa is a fascinating artist who is creating contemporary performances that are rooted in a deep knowledge and passion for classical ballet. The winner of the 2023 Telstra Emerging Choreographer in partnership with The Australian Ballet for her digital work, 3, Yuiko most recently created Standing On A Rising Wave for the 2024 Bodytorque season. A highly acclaimed creator, Yuiko has collaborated with Lucy Guerin Inc., Arts House and Dancehouse, and has completed choreographic secondments with the Trisha Brown Company under choreographer Lee Serle, New York City Ballet and Milwaukee Ballet. We can’t wait to see what this emerging talent will present in February, looking forward into the future of ballet as we also reflect on our magnificent past.

Victor Gsovsky created the Grand Pas Classique pas de deux as a tribute to the style and aesthetic established by the father of classical ballet, Marius Petipa. A former student of the Imperial-era ballerina Evgenia Sokolova, Gsovsky’s Grand Pas Classique pas de deux premiered at the Théâtre des Champs-Elysées in Paris in 1949, arriving in Australia in 1979. In 2008 David McAllister restaged the work that demands pinpoint precision from the artists and is noted as a ballet that connects the classical structure of Petipa’s style to the technical expertise of 21st-century dancers in a thrilling combination.

German choreographer Marco Goecke interrupts your slumber with Morpheus’ Dream. Inspired by the ancient Greek god of dreams, Morpheus is the son of Somnus (sleep) and can shapeshift (morph) into human form, appearing in dreams to deliver messages from the gods.  Premiering at the Stuttgart Ballet under the title Nachtmerrie in 2021, Morpheus’ Dream uses music from Keith Jarrett’s Budapest Concert and pop star Lady Gaga in a melding of genres to create a free-spirited and unexpected soundtrack.

Former Principal Artist of The Australian Ballet, Walter Bourke’s Grande Tarantella has been delighting audiences since its premiere with The Australian Ballet in 1975. A staple of the company’s repertoire, Bourke premiered the work in 1974 for the Royal Swedish Ballet with Maria Lang and himself in the leading roles before bringing it to Australia and casting the iconic ballet duo, David McAllister and Elizabeth Toohey. The Grande Tarantella became The Australian Ballet’s calling card for many years, with McAllister and Toohey making guest appearances at leading ballet companies and achieving worldwide acclaim. In 1985, McAllister took home the bronze medal at the Fifth International Ballet Competition in Moscow after performing the work with Toohey.

George Balanchine’s tribute to the Russian Ballet, its ‘father’, choreographer Marius Petipa and the brilliance of composer Peter Ilyitch Tschaikovsky. Ballet Imperial is set against a grand backdrop, evocative of the splendour of Imperial Russia’s Winter Palace. Premiering for the American Ballet Caravan in 1941, The Australian Ballet first performed the work in 1967, making it the first Balanchine piece to ever be staged by the company. In 1973, Ballet Imperial was restaged with new costumes and a new title, Piano Concerto No. 2, and removed all references to Imperialism. The Australian Ballet’s version is performed in its original form, showcasing Balanchine’s magnificent proclivity for athleticism based in classical ballet canon.

The performance of Ballet Imperial, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.