Prism by The Australian Ballet

DANCE
PRISM ★★★★
Australian Ballet, Regent Theater until October 4

The Australian Ballet offers a triple invoice that exhibits three variations in the endless rainbow of contemporary concert dance. William Forsythe’s Blake Works V (Barre Project).

This fragmented but fascinating piece is opened with a duet for Isobelle Dashwood and Callum Linnane, both are effective in the isolation grammars and distorted axes of Forsythe. Expressions are fully ventilated, but extensions circulate like compass needles.

The focus then slips towards a ballet stick. The dancers rotate and slide along the Barre, then enter the open space. Benedicte BEMET, dust blue, shapes a series of magnificent solo: speed and meticulousness are balanced with sensual shocks.

In the bill also Jerome Robbins’ Glass pieces Philip Glass’s music. Robbins was a theater producer as a choreographer, and we see that he’s doing what he’s doing best: giving maximum clarity to a number of compelling dramatic ideas.

In the first movement, in different colored costumes, 24 dancers are dragged on stage like confetti. The glittering soloist couples then splashed into the middle of their arms, envisaging an almost aggressive optimism.

In the second movement, we get a series of silhouette women moving in a mature shuffle against a blue background. Fixed variations catch the eye: turn, cheek, pause. On the stage, Robyn Hendricks and Maxim Zenin make a dream -like pass deux.

Stuck between Robbins and Forsythe, settled choreographer Stephanie Lake: Seven days respect for a fireplace Goldberg variations By the composer and company pianist Peter Brikmanis.