Prism

Choreography by Jerome Robbins

Music by Philip Glass

Dancer, choreographer and storyteller Jerome Robbins captured the world’s attention with his ground-breaking choreography on the hit Broadway musicals West Side Story and Fiddler on the Roof.

Known for his evocative style, Robbins spoke his truth through his ballets. With Glass Pieces, Robbins extends across genres, fusing slick urban movement with traditional ballet to create a style that is uniquely its own.

Accompanied by Philip Glass’ music from Glassworks and the opera Akhnaten, Glass Pieces is an expansive work of art that moves at an electrifying pace, embodying the pulsing heartbeat of New York City.

Choreography by Stephanie Lake

Music by J.S. Bach reimagined by Peter Brikmanis

Following the success of Circle Electric in 2024, The Australian Ballet’s Resident Choreographer Stephanie Lake returns with a striking new world premiere that marks a bold creative departure. Featuring Peter Brikmanis’s reimagining of J.S. Bach’s Goldberg Variation and performed by an intimate cast of seven dancers, this work embraces emotional immediacy and razor-sharp precision.

In contrast to Lake’s typically large-scale productions, this performance strips back to focus on the dancers’ physicality and nuanced movement. The Goldberg Aria loops, and seven wildly different versions of the same dance unfold. Sharply lit by long-time collaborator Bosco Shaw and costumed in distinctive designs by Kate Davis, the piece explores the quiet drama of form, rhythm and human connection, delivered with Lake’s signature explosive physicality and wit.

The Robert & Elizabeth Albert Music Fund will support Peter Brikmanis’s reimagining of J.S. Bach’s 'Goldberg Variations' for Stephanie Lake’s Seven Days

Choreography by William Forsythe

Music by James Blake

The Barre Project was conceived at the height of the pandemic as an homage to the legions of dancers who, while holding on to any available piece of domestic furniture, attempted to sustain their professional abilities with at-home barre exercises.

The project’s choreography contains no traditional arrangement of academic barre sequences. Rather, it is a rigorous display of the winding and unwinding kinetic logic that underlies the most fundamental elements of classical ballet’s vocabulary.

Traditionally, the musical accompaniment for barre work has consisted of regularly metered excerpts of classical music repertoire. The composer, James Blake, also uses familiar time signatures to frame diverse facets of classic composition in his densely counterpointed structures. Blake’s musical erudition allows him to navigate between traditional compositional conventions and contemporary genres with sophisticated ease, delighting and exciting performers and audiences alike.