Outstanding night of dance from RNZB
The Firebird with My Brilliant Career
What a superb night of dance. These two ballets delivered a beautiful contrast in style and rhythm, but shared the theme of featuring strong female characters and exquisite dancers, with standout performances by Katherine Minor and Jennifer Ulloa in My Brilliant Career and Ana Gallardo Lobaina in The Firebird .
Written in 1899 by the then teenage Stella Franklin, My Brilliant Career tells the story of a young rural Australian girl, Sybylla, who is in a state of conflict. Two distinct "sides" of her personality play out her dilemma: is she destined to be a country girl looking after her siblings, or does life hold a brighter future for her?
Choreographer Cathy Marston has created a true delight — the audience can feel the conflict in Syb and Bylla, and it is a feeling that most women can appreciate with the pressures that life inflicts.
Minor (Syb) and Ulloa (Bylla) play out Sybylla's complexities and struggles with delicate tenderness, but also great resolve.
Guest principal artist Victor Estevez's Harry Beecham is charming and provided a great match for Minor and Ulloa; their pas de trois were an alluring narrative.
The second work for this double-bill is The Firebird . A force to be reckoned with — like Lobaina, who portrays her for the second time since choreographer Loughlan Prior envisaged her in this role — the Firebird is the guardian of the natural world and protector of life.
Created at a time when the classical greats ( Swan Lake , Sleeping Beauty etc.) reigned supreme, The Firebird was a complete departure from the world of traditional fairy tales, and a welcomed one at that.
The world is on the brink of destruction and The Firebird is a warning that nothing should be taken for granted, least of all the Earth — perhaps a prophetic one in today's environment,
I said after the first time I saw Lobaina in this role that she is the powerhouse of this company. The role of the Firebird is not one for the fainthearted, and Lobaina has the strength, grace and agility to make this her signature role.
Stravinsky's iconic score underpins the intensity and weightiness of this work.
Prior's vision for this ballet — along with Tracy Grant Lord's stunning costumes and John Buswell's atmospheric lighting in tandem with POW Studios' intense visuals — immerse the audience in a world where water is the most precious commodity; let's hope this vision doesn't become a reality.
Again, what a superb night of dance; I'm loving the direction this company is heading in.
Review by Penny Neilson
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