In this contemporary triple bill, resident choreographers from three of the world’s top companies respond to scores from modern-day composers working in very different musical fields.
Justin Peck, resident choreographer of New York City Ballet, has invigorated the company with his fresh take on classical technique. He makes his Australian debut with Everywhere We Go. Set to a score commissioned from indie singer-songwriter Sufjan Stevens, costumed in witty nautical stripes, it’s a nine-part ballet for 25 dancers who stream in and out of complex group formations and pin-sharp pas de deux. Like his predecessors at New York City Ballet, George Balanchine and Jerome Robbins, Peck brings the energy of Hollywood and Broadway to the classical stage.
Wayne McGregor’s all-male Obsidian Tear takes us to the shadowy depths of the planet – and the psyche. McGregor, the rigorously cerebral resident choreographer of The Royal Ballet, assembles movement around multi-disciplinary explorations: in this case, into geology, myth and the violent effects of emotion on the body. Responding to violin works by the Finnish conductor-composer Esa-Pekka Salonen, McGregor moves away from the hyperextended, piston-fast movement of works like Chroma and Dyad 1929, finding a more flowing and introspective movement quality. Nine men circle and clash, evoking ritual, brutality, sensuality and the tectonic forces that mould the earth.
The third resident choreographer of the program is The Australian Ballet’s own, Alice Topp. Her new work, Annealing, will feature Australian design and a commissioned score by Australian composer Bryony Marks, and will continue her journey into the emotional core of human experience.
Bringing together fascinating works from three corners of the globe, Instruments of Dance maps the shape of the art form in the 21st century.
Wednesday 9 November, 7pm
Joan Sutherland Theatre
Sydney Opera House
Wednesday 14 September, 11am
Wednesday 21 September, 11am
$46 to $125*
“The connection between music and dance can be the greatest marriage. Justin, Wayne and Alice all hear the music they create to differently, which makes for three varying interpretations…This is a compelling program both for our dancers and our audiences.”
— David Hallberg, Artistic Director of The Australian Ballet
* All prices include a booking fee. A $5 handling fee will be charged per transaction for all sales conducted over the phone.
If you are a member of The Ballet Society Victoria or The Ballet Society South Australia, we would be delighted for you to join us at this event. Please contact your state for details of how to book with us at the member price.
The Ballet Society Victoria
(03) 9669 2591
The Ballet Society South Australia
0478 034 579
If you require wheelchair or accessible seating, please contact the office directly on (02) 9252 7322 to book.
Choreography Justin Peck
Composer Sufjan Stevens
Costume Design Janie Taylor
Original Lighting Design Brandon Stirling Baker
Set Design Karl Jensen
Obsidian Tear was originally commissioned by The Royal Ballet and Boston Ballet and had its premiere at The Royal Opera House, Covent Garden, on 28 May 2016.
Choreography and Set design Wayne McGregor
Composer Esa-Pekka Salonen
Fashion Director and Designers Katie Shillingford, Craig Green, Hood By Air, Julius, Gareth Pugh, Assaf Reeb, Christopher Shannon, Telfar, Vivienne Westwood
Lighting Design Lucy Carter
Dramaturge Uzma Hameed
Choreography Alice Topp
Composer Bryony Marks
With Opera Australia Orchestra and Orchestra Victoria
Alice Topp’s Annealing is generously supported by The Dame Margaret Scott Fund for Choreographers and The Robert & Elizabeth Albert Music Fund.
The Instruments of Dance Final Dress Rehearsal is going ahead with capacity in line with current NSW Government restrictions. This capacity may change.
All sales are subject to The Ballet Society NSW Terms and Conditions
Ticket allocation for Dress Rehearsals is provided by The Australian Ballet and begins at Row N in the Stalls.
You must a hold a current membership with The Ballet Society to book tickets at the member price.
If you selected to receive a credit for any performances or events that were cancelled in 2020/2021, you can use this credit to book for this performance. To book using your credit or check your current balance, please call the office on (02) 9252 7322.
Physical tickets are no longer being issued. Prior to the performance, a digital ticket from The Australian Ballet will be sent to the email address provided at the time of booking.
For information about what the Sydney Opera House is doing to ensure patron safety at events like the Instruments of Dance Final Dress Rehearsal, please click here.
What is a Dress Rehearsal?
A Dress Rehearsal provides a small window into the world of creating a performance and gives an impression of the final production. It is part of the creative process of getting an event ready for a season and may be stopped at any time by a member of the Creative team. The Artistic Director or other members of the Creative team may interrupt the rehearsal to speak to dancers or musicians, and some part of the performance may be repeated. You will experience first-hand the meticulous standards of all performers.
The Creative team may, at their discretion, determine a Dress Rehearsal is no longer open to the public and we may be asked to leave the auditorium. As such, there is no guarantee that a full performance will be seen during a Dress Rehearsal.
The exact timing of the Dress Rehearsal is subject to change dependent on the requirements of the Creative team.
Can I applaud?
An attentive audience can applaud at appropriate moments.
If the rehearsal is stopped by members of the Creative team, please remain quiet so that performers are not distracted and can receive clear instruction from the team.
Please remain quiet throughout the rehearsal, including the period used by Creative time to go over sections of music, dance, lighting, scene changes or other aspects of the production which need adjustment.
Where will I sit and when can I leave?
The Australian Ballet makes limited seats available to certain groups. The Ballet Society, New South Wales allocation typically begins at Row N of the Stalls.
Similar rules for general performances apply to a dress rehearsal. The use of mobile phones is prohibited during the Dress Rehearsal – including photography, flashlights and other functionality. All devices should be switched completely off.
You must remain seated until give the signal to leave by either the Stage Manager or the Artistic Director. At no time should you leave the auditorium until the house lights have been switched on.
Latecomers will not be admitted until a break in the program. If you must leave early, leave at interval.
Become a Member of The Ballet Society New South Wales to be among the first to purchase tickets for Dress Rehearsals.