A towering artistic achievement, the world premiere of eagerly anticipated Christopher Wheeldon work Oscar© elevates The Australian Ballet to the envy of the international stage.
This dazzling premiere not only unveils Wheeldon’s compelling new work, it also firmly establishes The Australian Ballet in their temporary ome at the mighty Regent Theatre. Rather than a makeshift compromise, the visual and aural spectacle on show here indicate that the next three years will allow the company to retain its full Melbourne glory.
Welcoming the audience to the ballet’s new Melbourne venue, artistic director David Hallberg introduced Oscar© as an indicator of the company’s commitment to proudly presenting diverse and inclusive work.
Marketed as the first gay-themed full-length ballet in the classical repertoire, the narrative of Oscar© has been created by choreographer Wheeldon and composer Joby Talbot (based on an original idea by Wheeldon and Alexander Wise). With very sparing use of a narrator (Seán O’Shea) to set the scene, the ballet is bookended by Oscar Wilde’s trials and imprisonment and his eventual release.
Each act of the ballet blends Wilde’s reminiscences in gaol with one of his written works. Act one shifts between Wilde reading The Nightingale and the Rose with his wife and sons to his immersion in London society, later meeting lover and friend Robbie Ross.
Further into Wilde’s incarceration, act two merges The Picture of Dorian Gray with Wilde’s steamy relationship with Lord Alfred Douglas, known as Bosie, and their precariously thrilling journey through the London underworld.
Working at the height of his sophisticated, visionary powers, Wheeldon crafts something of a structured fantasia, a dazzling mix of perfectly balanced abstract and traditional storytelling. While pre-reading of the synopsis is recommended to comfortably follow the action, the ballet nonetheless unfolds like a heady dream that can be enjoyed in its own right simply for its elegance and beauty.
Most significantly, Wheeldon and Talbot imbue Oscar© with searing humanity, artfully conveying the indelible message that the cruelty suffered by Wilde, and indeed all people persecuted because of differences to mainstream society, should not be allowed to occur.
The ideal work to demonstrate the depth of talent in The Australian Ballet at this point in Hallberg’s tenure as artistic director, the cast sheet for Oscar© features some twenty characters, a great many of which have featured dance sequences. The men are well served, with Wilde joined by Robbie, Bosie, Oscar’s shadow, Oscar’s sons, Dorian, and more, including a fabulous pair of Music Hall “dames.” In balance, plum female roles include wife Constance Wilde, famed actresses Sarah Bernhardt, Lillie Langtry, and Ellen Terry, Sybil Vane, and the truly lovely role of the Nightingale.
Wheeldon deftly shifts from intimate moments to spirited ensemble dances, the latter varying wildly from adorable birds to intemperate society types to hedonistic nightclub goers. In a playful pas de troi, Wilde and Robbie interact daringly when Constance’s back is turned. Wilde often dances with his Shadow, finding in his shadow a spirit that is not held in by bars. Wilde and Bosie perform an exquisite pas de deux, soulfully expressing their passion through dance.
One further choreographic highlight is the show stopping act one Musical Hall duo, danced delightfully on opening night by Marcus Morelli and Cameron Holmes.
Designer Jean-Marc Puissant appears to have enjoyed a lavish budget. While the setting is on a grand scale, the majority of the budget may well have been spent on the rather stunning costumes. Oscar© begins at the Old Bailey, and this structure remains on stage with additional set pieces fluidly moving in and out. In a clever touch, the ceiling itself lowers to indicate when Wilde finds himself in the seamy underworld.
Lighting designer Mark Henderson draws the eye into intimate moments and then back out to the full stage, also making attractive use of glowing lighting embedded in the sets. The visual picture is completed by judicious use of the video design of David Bergman, which often bathes the stage in handwriting, reflecting the prolific and treasured output of Wilde.
Over and above the dance and design, the musical performance by Orchestra Victoria is a commanding attraction in its own right. Those familiar with Alice’s Adventures in Wonderland will be well aware that this music is by the same composer. Talbot delivers a lush dreamscape of gorgeous music that is wonderfully accessible and enjoyable at first listen. Making use of the full orchestra, Talbot has a particular focus on percussion, giving his music an ongoing drive and infectious rhythm.
With Orchestra Victoria in front of the stage, the music is free to soar in the vast space and it sounds superb. Free from the partial amplification needed at the State Theatre, the music reverberates through the theatre with power all of its own. Maestro Jonathan Lo leads a highly confident premiere performance, bringing out abundant colour and richness in the score.
On opening night of Oscar©, Callum Linnane left every ounce of his being on the stage, portraying a compelling journey through superb dance and expert characterisation. Linnane enjoyed tangible chemistry with every partner, from Wilde’s wife to lovers to actresses he idolised.
Joseph Caley brought a mix of daring and devotion to Robbie Ross. Benjamin Garrett brought delicate male beauty through dance first to the Student (in The Nightingale and The Rose) then to Bosie. In another fascinating dual role, Adam Elmes lost himself as Oscar’s Shadow before coming to the fore as the recklessly vain Dorian Gray.
Ako Kondo soared as the dear Nightingale, bringing the tragic role to life with finely honed artistry and flair. Sharni Spencer brought a noble, knowing countenance to Constance Wilde. Each seen in a heightened stage performance attended by Wilde, Benedicte Bemet (Bernhardt), Mia Heathcote (Langtry) and Jill Ogai (Terry) each capitalised grandly and distinctively on their moment in the spotlight.
Sure to be in high international demand, Oscar© is a treat to be devoured by Melbourne audiences.
Oscar© plays at Regent Theatre, Melbourne until 24 September 2024. For tickets click here.
Oscar© plays at Joan Sutherland Theatre, Sydney Opera House 8-23 November 2024. For tickets click here.
The Oscar© cast sheet can be read online.
Photos: Chris Rodgers-Wilson (#1, #3), Con Chronis (#2, #4, #5)