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
Advertising
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?

  • Musicals
  • Southbank
Is Elf starring Will Ferrell your go-to Christmas movie? Then here's some news to put a smile on your dial. Elf the Musical is heading to Melbourne for the very first time, bringing plenty of holiday cheer to the brand-new Crown Live Theatre from November 27. Following a successful run at the Sydney Opera House in 2024, the Broadway production arrives in Melbourne with oversized candy canes, toe-tapping tunes and laugh-out-loud moments. The story follows Buddy, a human who was raised by Santa's elves at the North Pole. When he discovers the truth about where he came from, Buddy travels to New York to find his father, spreading the Christmas spirit wherever he goes. Australian actor Gareth Isaac returns in the title role after earning rave reviews in Sydney. Directed by Eric Giancola with choreography by Mitchell Woodcock and music direction by Vicky Jacobs, expect a fabulously festive show featuring songs by Matthew Sklar and Chad Beguelin. Elf the Musical will run at the Crown Live Theatre from November 27 to December 13, making it the perfect way to kick off the festive season with the whole family. Tickets go on sale on July 24 via Ticketmaster.  Stay in the loop: sign up for our free Time Out Melbourne newsletter for the best of the city, straight to your inbox. Love theatre? Check out the best musicals on in Melbourne this month.  
  • Musicals
  • Melbourne
  • 4 out of 5 stars
  • Recommended
The curse of the Kennedys hangs heavy over the sorry tale of Grey Gardens, the bittersweet and sour musical with a score by Scott Frankel, lyrics by Michael Korie and a book by Doug Wright.  The resplendent, 28-room mansion was once a jewel in the East Hampton crown, snapped up by Wall Street lawyer Phelan Beale in 1924. It stayed in the family for just over half a century, during which time its lustre would dull disastrously.  Jacqueline Lee Bouvier, the future First Lady herself destined for tragedy, would often stay there as a child with her little sister Caroline ‘Lee’, as guests of their musically inclined socialite aunt, Edith ‘Big Edie’ Ewing Bouvier Beale, Phelan’s wife. The girls were fast friends with Big Edie’s daughter, later dubbed ‘Little Edie’. The oft-absent Phelan sent word to Big Edie of their divorce by telegram shortly after the cessation of WWII, leaving her the house but very little means to maintain it. Little Edie left to pursue a showbusiness career in New York City but soon returned with her tail between her legs, her once-luscious hair lost to alopecia totalis.  Together they huddled, bickering in co-dependent disharmony as Grey Gardens gradually crumbled around them, filling up with festering rubbish as the water and heating failed, with the health department on the warpath alongside a cornucopia of cats, rats, raccoons, lice and fleas who promptly moved in. Yikes, this sounds like it’s too sad to handle?   Look, you will feel the feels...
Recommended
    Latest news
      Advertising