Once upon a December night in Melbourne, the polished production of Anastasia finally made its long-awaited Australian premiere at the Regent Theatre. As a fan of the 20th Century Fox Animation film of the same name, I was excited to see this seminal work from my childhood come to life on the grandest of stages.
A sweeping tale of adventure, romance and finding your way back home, Anastasia feels destined to deliver theatrical magic. And in many ways it does – the costuming, particularly the opulent ball gowns and Russian court-style ‘fits, are gorgeous. The songs, catchy in the film, are given real oomph with the backing of a ten-strong orchestra. And the charming cast is undeniably talented.
But – spoiler alert! – this is not a wholly faithful adaptation, with the most notable change being the erasure of the deliciously wicked Rasputin (justice for the criminally underrated banger ‘In the Dark of the Night’). Here, he’s been replaced by Gleb (Joshua Robson) a Bolshevik general who develops conflicted feelings for our titular heroine, but doesn’t quite incite the same fear as the original, supernaturally-gifted animated villain.
What’s the premise of Anastasia?
Offering a romanticised take on Russia’s last imperial dynasty, the Romanovs (heavy on the romanticised part – this is by no means a historically accurate take on the infamously unpopular family), Anastasia follows the story of Anya, a young street sweeper with a convenient case of amnesia. With rumours swirling...
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).
