As fictional antiheroes go, Patricia Highsmith’s deliciously amoral Tom Ripley is simply irresistible.
First crushing on, then crushing, sneering dilettante Dickie Greenleaf, Ripley casually assumes his identity (and careless wealth). We should be repulsed by such a repugnant character. Instead, we mentally egg him on. Why? A lot of his inexplicable appeal has to do with class. When we first meet Ripley in Highsmith’s 1955 novel, he’s cruising seedy New York bars, on the lam from cops and debtors pursuing him for petty theft and fraud charges. A man down on his luck, we understand his hustle.
Jumping at shadows, the appearance of an impeccably dressed Greenleaf senior, Herbert, startles Ripley. Is the older man an unusually well-dressed detective, or even, *gasp*, a “pervert”?
Crashing through the class barrier, Ripley seizes on Herbert’s presumptuous approach with an offer too good to resist: an impossibly well-paid gig, tasked with retrieving Herbert’s recalcitrant son from fictional Italian beach town, Mongibello
How could Ripley say no? Once there, how could he let go? A provocation to seize a world well beyond his means. Better the devil we know, we’re on Ripley’s side as he claims his slice of this indulgent life from mean-spirited one percenters. After all, Highsmith borrows Mongibello from the Italian for active volcano Mount Etna, and Ripley’s here to blow shit up.
Who’s involved in this latest adaptation of The Talented Mr. Ripley?
The suspenseful, smoky...
If 2015 was the Australian Ballet’s ‘year of beauty’, then 2016 delves into darker (yet no less ambitious) territory, with classic and contemporary works depicting turbulent romances, supernatural forces and a tortured genius. “Ballet has the ability to transform,” says McAllister. “This is a richly dynamic and diverse season which I am proud to present.”
An anticipated highlight of the season will be the Australian premiere of Nijinsky (Sep 7-17) an emotional tribute to the Ballets Russes prodigy, lauded as one of the greatest dancers and choreographers of the 20th century. Created by master choreographer John Neumeier and first performed by the Hamburg Ballet in 2000, Nijinsky tells the story of the dancer’s meteoric rise to fame, the controversy around his sensual choreography, and his battle with mental illness that eventually saw him pass away in a mental institution in 1950.
Following the huge success and critical acclaim of 2015’s 20:21, contemporary ballet will again come to the fore with Vitesse (Mar 11-21), which will featuring new works by three world-famous choreographers: Christopher Wheeldon, Jiří Kylián and William Forsythe.
On the other end of the spectrum are lavish productions of ballet classics. Stephen Baynes’ traditional staging of Tchaikovsky’s Swan Lake (Jun 7-18), created by the resident choreographer for the Australian Ballet’s 50th anniversary in 2012, will return for an encore run, complete with Edwardian set design by the masterful Hugh Coleman.
The talented Stanton Welch, who is both a resident choreographer with the Australian Ballet and artistic director of Houston Ballet, will bring his much-loved production of Romeo and Juliet (Jun 30-Jul 9) exclusively to Melbourne. Rounding out the season will be the family favourite fairytale Coppélia (Sep 23-Oct 1).
