The Australian Ballet begins the year in grand style as they treat Melbourne audiences to an exclusive season of Signature Works.

All too quickly, the interim performances at the Regent Theatre are in their final year, with the eagerly anticipated return to the State Theatre already on sale. Very simply presented on the grand Regent stage, this generous collection of Signature Works allows clear focus on the sheer beauty of dance on display. 

Curated in the style of a gala program, Signature Works includes a blend of classical and modern pieces in the first half before the feature presentation of George Balanchine’s Ballet Imperial after interval. Showcasing a substantial contingent of the company, a clear connecting feature of the items is the very high standard of performance on display. The finely honed technical skills of the dancers allow the selections to be seen and enjoyed at their best, with tight synchronisation a clear highlight. 

Maestro Jonathan Lo leads Orchestra Victoria in a sumptuous musical performance, deftly bringing out the expressive best in the scores of a range of composers. Special mention to Andrew Dunlop for his absolutely exceptional work as the Ballet Imperial Piano Soloist. 

Before focusing on featured dancers, mention must be made of the female corps. On a bare black stage, 24 female dancers provide an auspicious beginning as they exquisitely conjure “The Kingdom of the Shades” (La Bayadère). Equally pristine work is seen as the program concludes with Ballet Imperial, the female corps again working in wonderful harmony to form the immensely satisfying patterns crafted by Balanchine.

When works are seen away from their original context, it can be challenging to create a sense of character and story. No such difficulty is encountered by Robyn Hendricks and Davi Ramos, who readily convey the sultry drama of titular temple dancer Nikiya and warrior Solor of La Bayadère. 

In a series of show-stopping pas de deux, this opening performance sees Samara Merrick and Marko Juusela dance the deceptively simple Flames of Paris pas de deux, Sharni Spencer and Davi Ramos deliver the gorgeous Grand Pas Classique pas de deux, and Aya Watanabe and Cameron Holmes revive the characterful Grande Tarantella. Making a welcome return from maternity leave, Spencer is in excellent form, her pristine work boding extremely well for her subsequent return to principal roles. 

Sitting between these classical selections are two modern items, serving to clearly demonstrate the breadth of talent of the dancers. 

For This Moment, choreographer Yuiko Masukawa neatly stages modern dance with a strong underpinning of classical technique. The result sees truly lovely dance from Henry Berlin, Jeremy Hargreaves, Amy Ronnfeldt, and Alexandra Walton as they move in and out of various combinations. 

Having premiered in this form only a year ago at The National Ballet of Canada, Morpheus’ Dream provides uniquely muscular, rapid-fire dance, performed with nimble flair by Corey Gavan and Larissa Kyoto-Ward.

A vision in Hugh Colman’s dark emerald and sapphire costumes, the ensemble cast of Ballet Imperial provides a stunning centrepiece for the program. Principals Benedicte Bemet and Chengwu Guo transcend the requirement for immaculate dance, each imbuing the abstract work with a strong sense of character and presence. Of the strong set of supporting soloists, Rina Nemoto is a clear standout, sparkling to the very back of the dress circle.

The full program to unfold across 2026 is all the more eagerly anticipated after the delectable taster of Signature Works.

Signature Works plays at Regent Theatre, Melbourne until 1 March 2026. For tickets, click here.