When Michael Douglas’ Wall Street wanker Gordon Gekko said, “Greed… is good,” in filmmaker Oliver Stone’s 1987 triumph, Wall Street, he nail-gunned the decade’s selfish excess to the wall so hard it basically birthed Patrick Bateman.
Set two years later and released in 1991, American author Bret Easton Ellis’ gruesome third novel, American Psycho, is hung on the self-centred Bateman, a 27-year-old preening predator in a pinstripe suit.
An ambitious investment banker obsessed with horror movies, Huey Lewis, his skincare regime, business cards, restaurant reservations and one-upping the competition, Bateman is an empty shell of a man. Lurking in the darkening void where his heart should be is a far more odious truth. Worshipping “The Donald,” he shares the now-President’s malignant narcissism.
That, and he’s also a cold-blooded serial killer.
Christian Bale breathed baleful life into this slick-haired monster in Mary Harron’s menacingly marvellous 1998 film. If you pay close attention to See You Sunday’s return season production of the musical – with a book by Roberto Aguirre-Sacasa and music and lyrics by Duncan Sheik – you’ll spot a cameo by Bale.
Wait, what? Is Christian Bale in American Psycho: A Musical Thriller?
Sort of. Directed by Mark Taylor in conjunction with musical director Aaron Robuck, See You Sunday’s spectacular production at Chapel Off Chapel stars chillingly precise Heathers bad boy Conor Beaumont as the Valentino tuxedo buttoned-up psychopath.
But in...
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).
