Diametrically different, the paired works of The Australian Ballet double bill Études / Circle Electric are comparable in scale yet worlds apart in choreographic vocabulary, providing the broadest possible spectrum of dance in one program.

Despite the indications of the title, it is Circle Electric that plays first. Newly appointed Resident Choreographer Stephanie Lake capitalises upon the extensive resources of The Australian Ballet in her first full-length commission for the company. 

First presented on tour in 2023 and 2024 as a 15-minute version with only six dancers, Circle Electric (in a form now known as Circle Electric: Prologue) worked very effectively as an exciting taste of modern dance blended with futuristic staging and electronic music. 

Expanded to more than sixty minutes and now featuring a whopping fifty dancers, Circle Electric suffers heavily from the law of diminishing returns. A work more to be admired than enjoyed, the scope of Lake’s choreographic vision is impressive and yet the disconnected series of items leaves little more than a transient visual impact. 

Drawing exclusively from the realm of modern dance without a trace of classical influence, Lake’s work benefits mightily from the finely honed skills of 50 dancers across all ranks of The Australian Ballet. While no dancers are specifically featured, there are fleeting moments where individual gifts can be observed and appreciated. 

Composer Robin Fox matches the completely modern dance vernacular with a series of clanging chords and tensely suspended long notes. In a key musical sequence, a pair of percussionists joins the dancers on stage, creating resounding rhythm with flair. While conductor Joel Bass successfully stretches Orchestra Victoria to play the modern stylings, it is an insult to the musicians to have to spend so much of the piece sitting in pitch black while pre-recorded music crackles out. 

Working in close collaboration, set designer Charles Davis and lighting designer Bosco Shaw craft an ever evolving stage picture that has moments of magic. The most thrilling of these is when the massive glowing circular set piece lifts and a sole male dancer appears to be floating inside. Focus remains on the massed choreography and physical staging with costume designer Paula Levis supplying a dynamic spectrum of nude and earth tones that are individualistic yet blend smoothly to a warmly cohesive whole.

After a long interval, the program makes a quantum leap to the world of classical ballet in its purest form with the dreamy elegance of Études. 

The most famous work of Danish choreographer Harald Lander, Études (1948) unfolds gently as an abstract trajectory of dancers’ careers. From exercises at the barre, to floor exercises, to first recitals and onward, a corps of 36 dancers works with astounding precision to support the dazzling featured work of three principal artists. 

On opening night, Ako Kondo was every inch the balletic princess, glittering tiara and all, drawing upon all her gifts to convey a broader sense of character and story in each of the snippets of scenes. Joseph Caley danced with delightful blend of grace and sheer athleticism. Chengwu Guo executed trademark pillowy leaps and extraordinarily nimble speed. 

Helmed by conductor Jonathan Lo, Orchestra Victoria performs the playful score of Knudåge Riisager (after Carl Czerny) with merry abandon. If a little heavy on the brass, the musical performance is a fittingly whimsical complement to the light hearted yet utterly luxuriant dancing on stage. 

A tremendous showcase for the breadth of talent in The Australian Ballet, the double of Études / Circle Electric would surely have benefitted from a shorted version of Circle Electric with a third work added for further variety. Nonetheless, the program showcases dance performed at the highest standard. 

Études / Circle Electric plays at Regent Theatre, Melbourne until 9 October 2024. For tickets, click here.

The Études / Circle Electric cast list can be read online. 

Photos: Daniel Boud