Reviews

Even those who are not fans of classical ballet wouldn't be disappointed with this display of creative and physical energy: its colourful setting and humorous plot will always withstand the annals of time and is well worthwhile staging again after its initial success with the RNZB and QB in 2015-6. Mendelssohn originally composed the opening as a concert overture and was later commissioned to write additional incidental music for the play, a score now well-known and performed by Camerata in this production, conducted and arranged by accomplished Principal Conductor and MD Nigel Gaynor.

Mark Twain’s definition of humour as tragedy plus time forms the basis of Ed Byrne’s compelling show. The premise is that with the distance of time tragic events can eventually become a source of humour. Byrne puts this to the test as he recounts his troubled relationship with his younger brother who passed away shortly after reconciling with him. The story is indeed tragic, and although Byrne’s treatment of this narrative is often hilarious, he also highlights its poignancy.

‘You can find me later on Linkedin!’ calls Helena to her departing ex-sweetheart. Such a thing is permissible in this version of Shakespeare, which mixes modern quips with some heavy Elizabethan verse-making. Glenn Elston, director of Melbourne’s Australian Shakespeare Company for no less than 35 years, has mastered this mixing trick. Here he comes up with a fresh and convincing directorial take on an old and oft-told story.

Johan Inger’s startling ballet Carmen shifts our focus from the famed femme fatale to the defeated Don Jose who swoons over her.  Callum Linnane excels as the sexually uncertain prison guard – having to lock up Carmen – dancing tall and lyrical, then crumpled into angular gestures by his unrequited love.  

Linnane is beautifully expressive of Inger’s cocktail of classical and contemporary movement (and music) in this dark psychoanalytical interruption.