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Graham Murphy is arguably the countrys greatest choreographer; is definitely our most famous. He has become an icon in a position that is always dangerous. He is undeniably central to dance in this country and it is certainly good that the Australian Ballet will stage a show dedicated to the master. But the danger is that when the work is viewed out of context, the results become a kind of memento mori. Murphy is a display case in the traditional sense of the word: a glass box designed so that we can look into it and look at inanimate things. That doesnt mean they cant be beautiful. The evening begins with the man himself, filmed and projected on a giant screen. We get a glimpse of the various works and the result is a reminder of his rich experience, his extraordinary contribution to the dance of this country. And then the show itself begins with the prologue of the Silver Rose. Dimitia Azura dances the role of Marchalina, an actress who is afraid of aging and losing her looks, haunted by the mirror and afraid of losing her younger lover Octavian, played here by Ty King Wall. Its a rather primitive and literal track with a strange opening, but perhaps it expresses Murphys fear of losing his vitality. The following extract from Air and Other Invisible Forces, one of Murphys greatest triumphs with the Sydney Dance Company, is a much closer reflection of his aesthetic. Sensual lyricism, those long stretches and lazy tempos often break into faster, slanted movements; an arm or leg turns and pronounces phrases in an unexpected way. Combined with the beautiful wavy white fabric, the effect is amazing. Shes followed by Scheherazade, a 1979 work that shows her aging a bit but still being pretty smart. Mezzo-soprano Victoria Lembourne sings Ravels score, while a quartet of dancers perform an erotically charged set full of complex tones and precise imagery. Much of Act I is excerpts from Murphys extended piano dedication, Grand. Scott Davey plays songs from Beethoven to Gershwin as dancers roll him around the stage. While many of these arrangements are wonderful – some stunning group work by female choir members, a brilliantly danced variation to Fats Waller music – you get the impression that this chopped-and-mixed selection is a slightly discredited facsimile of the original Act II, which has no such problems. , as it is the completed ballet Firebird, one of Murphys most important works for the Australian Ballet, first performed in 2009. work and Murphys version take their original force directly. Lana Jones dances the role of Firebird and is a genial Mercury who can suggest strength and fragility at the same time. Kevin Jackson returns to the role he played in Ivan the Terrible, Noble and Loving. Amber ScoGraham Murphy is arguably the countrys greatest choreographer; this is by far our most famous. He became an icon in an increasingly precarious position. He undoubtedly plays a key role in this countrys dance and it is certainly good that the Australian Ballet is organizing a show dedicated to the master. But the danger is that if you take the work out of context, the results become a kind of memento mori. Murphy is a showcase in the traditional sense of the word: a glass case designed so that we can look inside and see inanimate objects. That doesnt mean they cant be beautiful. The evening begins with the man himself, filmed and projected onto a giant screen. We see glimpses of various works and the result is reminiscent of his vast experience, his outstanding contribution to dance in this country. And then the actual show begins with the prologue to the Silver Rose. Dimity Azura plays the role of Marshal, an actress afraid of aging and losing her looks, being haunted by mirrors and afraid of losing her younger lover Octavian, here danced by Ty King-Wall. Its a fairly primitive and literal piece that sets up an odd opening but perhaps expresses Murphys fear of losing his vitality. The following excerpt from Air and Other Invisible Forces, one of Murphys greatest triumphs with the Sydney Dance Company, captures his aesthetic much more accurately. Sensual lyricism, those long draws and sluggish tempi are often hammered into faster, slanting movements; The arm or leg will twist and say phrases in unexpected ways. In combination with a beautiful wavy white fabric, the effect is excellent. Next up is Scheherazade, a 1979 play that shows her aging a little but still pretty cute. Mezzo-soprano Victoria Lambourne sings Ravels score while a quartet of dancers perform an erotically charged set full of intricate high frequencies and clear imagery. Much of Act I is excerpts from Murphys extended homage to the grand piano. Scott Davy performs a variety of songs from Beethoven to Gershwin as the dancers roll him across the stage. While many of these arrangements are superb - some amazing group work by the womens corps, Fats Wallers brilliantly danceable variety of music - one gets the impression that this chopped up and shuffled selection is a slightly discredited facsimile of the original Act II, lacking these issues. . because it is a complete ballet, The Firebird, one of Murphys key works for Australian Ballet, first performed in 2009. works, and the Murphy version uses its original power directly. Lana Jones plays the role of the firebird and the brilliant Mercury, capable of inspiring strength and fragility at the same time. Kevin Jackson returns to the role he played in Ivan Tsarevich, wonderful, noble and gentle. Amber Sko

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