Triple-bill of ballet utterly on pointe

Trio of kinetic pieces designed for maximum entertainment

Swedish choreographer Alexander Ekman is in focus in the Royal NZ Ballet’s latest season. Just 33 years old, Ekman’s output is prodigious, creating not only ballets but also film, opera and largescale events; he is much in demand around the world. The three ballets presented here, and are entertaining pieces without any deep significance. They’re anti-classical in terms of style and genre and with comedic moments to raise chuckles every now and then.

Ekman intends you to sit back and enjoy what comes. (If you are close to the stage, the kinetic excitement of the dancers is bound to get under your skin as well.) A number of his hallmarks feature in these works: a preoccupation with rhythm and philosophical questions, intermixing music from by Ekman, the Royal sources and significance of rhythm in our lives.

Episode 31 has the look and feel of a large-scale fashion shoot, with 20 or so dancers stylishly dressed in variants of black and white clothing. Children’s poetry by Christina Rosetti features behind a shadowy duet for dancers Massimo Margaria and Alexandre Ferreira.

seen here last year, is the most scenographically sophisticated of the three works, with beautifully delivered live music from the NZ String Quartet enlivening proceedings, and the ongoing reconfiguration of the stage space by the dancers. A recorded conversation about a relationship breakup is echoed in a featured duet danced with alacrity by Veronika Martaia and Shih-Huai Liang.

is the type of ballet that offers something for everyone to enjoy.