Vitesse

The Australian Ballet's contemporary triple bill Vitesse stretches at the edges of what ballet can and should be — and proves a challenge to audiences and dancers alike.

Jiri Kylian's Forgotten Lands, a musing on global warming, as a town is swallowed by the sea, had the most room for emotional impact, as we watched dancers jump into the air before sliding to the floor. This all set against a painted backdrop by Jean-Marc Puissant that seemed to suggest in itself an impending end, and with the dancers clad in flowing dresses that served to elevate the choreography.  

We're slammed into William Forsythe's In The Middle, Somewhat Elevated with a loud crash. The work had the most energy and power, feeling more modern and subversive than the others, and drawing upon Thom Willems' industrial electronic score to give it a fearsome momentum, as the dancers, clad in green leotards, dashed across the stage.

We close with Danse A Grande Vitesse by Christopher Wheeldon, a robust work that channels the energy of high speed trains, at times at odds with the score from Michael Nyman. The dancers hurtle across the stage into and out of each other's arms, dressed in colourful bodices, and navigating a grand setpiece that divides the space in two.