The Australian Ballet Dances John Cranko’s ‘Onegin’ by Andrew Miller

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John Cranko. Photo by Hannes Kilian.

Opera Theatre, Sydney Opera House: 4 May, 2012
Onegin continues in Sydney until 21 May, playing in Melbourne from 23 June to 4 July

Onegin
Choreography – John Cranko
Music – Kurt-Heinz Stolze after Tchaikovsky
Set and costume design – Jürgen Rose
Lighting design – Francis Croese

Tatiana – Miwako Kubota
Onegin – Kevin Jackson
Olga – Reiko Hombo
Lensky – Daniel Gaudiello
Prince Gremin – Ben Davis
Madame Lerina – Katie Pianoff
Nurse – Olga Tamara

Australian Opera and Ballet Orchestra
Conductor – Paul Murphy

When John Cranko came to England from South Africa in 1946 at the age of 19 to learn at the Sadler’s Wells School, Ninette de Valois recognized and watered his talent, putting him to work the same year creating ballets for her Sadler’s Wells Theatre Ballet. She gave him opportunities and encouraged him to create at a time when she herself, though an excellent and very thoughtful choreographer in either a modern or the traditional styles, found herself with less and less time while seeing to her companies, schools and dancers and artists. De Valois made him resident choreographer of the company for the 1950 season. Cranko’s earlier work seems to show his comedic bent, e.g. Pineapple Pole (1950), and in his collaboration with Benjamin Britten in Prince of the Pagodas (1957), though by 1958 showed his full dramatic sense in creating his own version of Romeo and Juliet for Milan, which is now in many companies’ repertoires. In 1960, he left England to direct and choreograph the Württemberger Staatstheaterballett in Stuttgart, though only 33 years old, after remounting Prince of the Pagodas. His dramatic sense and keenly observed characterization, his talent for telling a story led him on to ‘adapt’ to, perhaps more to metamorphose into ballet, the literary giants, finding inspiration in unexpected places: Pushkin-Tchaikovsky’s opera Eugene Onegin (Onegin, 1965) and Shakespeare’s The Taming of the Shrew (1969). 

Read the full review on the Berkshire Review, an international journal for the arts!