A promo shot for Jade Wood at the Australian Ballet
Photograph: Justin Ridler
Photograph: Justin Ridler

Australian Ballet 2016 season

Much-loved classics and edgy contemporary pieces share the spotlight in artistic director David McAllister’s 2016 season

Rose Johnstone
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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).

What's on stage in Melbourne?

  • Southbank
Whether you’re a cheery Who from Whoville or a self-proclaimed Grinch, there’s no denying the festive season is upon us. And to kick things off in true Christmas spirit, Dr. Seuss’ most memorable villain is set to steal the stage at Hamer Hall, as the Melbourne Symphony Orchestra brings the holiday classic to life in concert from December 5-6. Across three special performances, revisit the iconic anti-hero on the big screen as Leonard Weiss conducts the sweeping score from James Horner, the Oscar-winning composer behind Titanic, Braveheart and Avatar. The music will be played live-to-picture, giving you the perfect excuse to swap your annual sofa watch for a night at one of Melbourne’s most magical venues.  Directed by Ron Howard, the 2000 live-action film of Dr. Seuss’ 1957 book stars Jim Carrey as the potbellied, green yeti with an attitude problem who ultimately learns the true meaning of Christmas in a wildly imaginative adaptation that honours the Seussian universe. Expect your heart to grow three sizes with a night at Dr. Seuss’ How the Grinch Stole Christmas in concert. Tickets range from $49 to $134. Get yours here. 
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  • Southbank
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In exchange for legs, every step The Little Mermaid takes on land is agonising, like walking on broken glass. Too terrified to disappoint her father through failing to sell enough matchsticks, The Little Match Girl freezes to death in an alley. And in The Red Shoes, a girl must dance to her death for deigning to cherish the last gift bestowed by her late mother.  What, exactly, is revered fairytale-spinner Hans Christian Andersen’s beef with young women and their humble desire to merely exist in happiness and safety? Yeah, what's this guy's damage? An excellent question that cabaret goddess and all-round chimerical queen Meow Meow has pondered across a triptych of tantalising works. Each unpicks the thorny crown the dubious Dane imposed on the heart of his not-very-Disney fantasies.  Our voyage began with absurdly comic diva Meow Meow’s 2011 spin on The Little Match Girl. Continuing five years later with The Little Mermaid, it’s been a long road to reach the crowning glory, but by golly was it worth the inordinate, near-decade-long wait. What’s the gist and who’s involved in Meow Meow’s The Red Shoes? Directed by Kate Champion, whose work lives up to that sterling surname, Meow Meow’s The Red Shoes opens on a great big pile of trash. Heaped on the left-hand side of the Merlyn stage by whip-smart set and costume designer Dann Barber, the detritus of capitalism’s ghosts includes boxy TVs, old speakers, an abandoned fridge and a rubbery tyre, all ashen as if this is a...
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