Witness classical ballet pushed to the limit, from its softest romanticism to its most mathematical precision, in an Australian Ballet premiere that glitters with over 18,000 hand-sewn jewels.
Emerald green, like a sunlit canopy. The dazzling scarlet of a ruby. The hypnotising clarity of a diamond. This is George Balanchine’s Jewels, presented by The Australian Ballet as part of the company’s 60th year celebration. Known as the “father of American Ballet”, Balanchine’s Jewels was created in 1967, inspired by a visit to the Van Cleef & Arpels jewellery store in New York City.
Running at the Arts Centre from Thursday June 29 to Saturday July 8, Jewels is a showcase of the pure talent, precision and strength of The Australian Ballet dancers. Each of the three acts places the spotlight on a different dimension of ballet, and the potential it has as a form. The first act is soft and mysterious, like an emerald, the next captures the sensual passion of a ruby, and the final is as pristine as a diamond.
This lavish production is widely considered to be Balanchine’s masterpiece and Artistic Director David Hallberg is certain the Australian Ballet is ready to take on the challenge – the costuming and sets will certainly be up to par. In a process that took two months, over 18,000 jewels were hand sewn onto the costumes to recreate Barbara Karinska’s original designs for each ‘jewel’, with volunteers from the Country Women’s Association and Embroidery Guild stepping in to assist the Australian Ballet’s costume department. The company also worked with the original set designer for Jewels, Peter Harvey, to develop a remodelled version of his designs from the original 1967 premiere.
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