In this contemporary triple bill, resident choreographers from three of the world’s top companies respond to scores from modern-day composers working in very different musical fields.
Justin Peck, resident choreographer of New York City Ballet, has invigorated the company with his fresh take on classical technique. He makes his Australian debut with Everywhere We Go. Set to a score commissioned from indie singer-songwriter Sufjan Stevens, costumed in witty nautical stripes, it’s a nine-part ballet for 25 dancers who stream in and out of complex group formations and pin-sharp pas de deux. Like his predecessors at New York City Ballet, George Balanchine and Jerome Robbins, Peck brings the energy of Hollywood and Broadway to the classical stage.
Wayne McGregor’s all-male Obsidian Tear takes us to the shadowy depths of the planet – and the psyche. McGregor, the rigorously cerebral resident choreographer of The Royal Ballet, assembles movement around multi-disciplinary explorations: in this case, into geology, myth and the violent effects of emotion on the body. Responding to violin works by the Finnish conductor-composer Esa-Pekka Salonen, McGregor moves away from the hyperextended, piston-fast movement of works like Chroma and Dyad 1929, finding a more flowing and introspective movement quality. Nine men circle and clash, evoking ritual, brutality, sensuality and the tectonic forces that mould the earth.
The third resident choreographer of the program is The Australian Ballet’s own, Alice Topp. Her new work will feature Australian design and a commissioned score by Australian composer Bryony Marks, and will continue her journey into the emotional core of human experience.
Bringing together fascinating works from three corners of the globe, Instruments of Dance maps the shape of the art form in the 21st century.
“The connection between music and dance can be the greatest marriage. Justin, Wayne and Alice all hear the music they create to differently, which makes for three varying interpretations. I am thrilled to bring my friend and former collaborator Justin Peck to Australia, to extend my relationship with Wayne McGregor, with whom I worked at The Royal Ballet, and to watch as Alice Topp becomes one of the strongest voices in Australian dance. This is a compelling program both for our dancers and our audiences.”
A choreograhic breakthrough for Wayne McGregor.Roslyn Sulcas, The New York Times
In Wayne McGregor’s Obsidian Tear, nine men circle and clash, evoking ritual, brutality, sensuality and the tectonic forces that mould the earth.Artists of The Royal Ballet. Photography by Tristram Kenton ©2018 ROH
Everywhere We Go
Choreography Justin Peck
Composer Sufjan Stevens
Costume design Janie Taylor
Set design Karl Jensen
Original lighting design Brandon Stirling Baker
Obsidian Tear was originally commissioned by The Royal Ballet and Boston Ballet and had its premiere at The Royal Opera House, Covent Garden, on 28 May 2017.
Choreography and set design Wayne McGregor
Composer Esa-Pekka Salonen
Fashion Director Kate Shillingford using designs by Craig Green, Hood By Air, Julius, Gareth Pugh, Assaf Reeb, Christopher Shannon, Telfar, Vivienne Westwood
Lighting design Lucy Carter
Dramaturge Uzma Hameed
Choreography Alice Topp
Composer Bryony Marks
With Orchestra Victoria and Opera Australia Orchestra
Alice Topp’s new work is generously supported by The Dame Margaret Scott Fund for Choreographers and The Robert & Elizabeth Albert Music Fund.
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