Spritely and charming: Possum Magic the Ballet is sure to delight

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This wrap of shows around Melbourne includes a children’s classic told through ballet, and a concert by a performer who never performed here when she was alive.

DANCE
Possum Magic the Ballet ★★★★
Arts Centre Melbourne, until December 10

Loughlan Prior’s spritely ballet adaptation of the celebrated children’s book Possum Magic by writer Mem Fox and illustrator Julie Vivas is certain to amuse younger audiences and bring back happy memories for grownups.

Possum Magic the Ballet performed by students at the Australian Ballet School.Credit: Sergey Konstantinov

After all, the award-winning tale, with its cast of cuddly critters and memorable journey round the continent, has delighted kids for generations. Indeed, this year marks the 40th anniversary of the book’s publication.

This year marks the 40th anniversary of the book’s publication.Credit: Sergey Konstantinov

The show, performed by students at the Australian Ballet School, opens with a parade of bush animals: echidna, wombat, two kangaroos, dingo, kookaburra and, of course, the two star possums, little Hush and wise Grandma Poss.

The story is told in mime but easy to follow. To keep Hush safe from snakes, Grandma uses bush magic to make her invisible. Hush soon wearies of this but, alas, Grandma can’t remember the counter spell.

She knows it has something to do with people food, but what food?

Thus begins their epic tour of edible Australiana: they try Anzac biscuits in Adelaide, steak and salad in Sydney, Minties in Melbourne and lamingtons in Hobart.

The dance throughout is lively, with folk-inflected rhythms and rapid steps, as well as much playfulness and comic business, such as the encounter with a rambunctious troupe of lifesavers in their famous red-and-yellow swimmers.

The highlight, though, is found in Perth, where a dozen dancers in pavlova tutus designed by Emma Kingsbury enchant the audience with their delicious turns and sugary graces.

Possum Magic the Ballet is a fine adaption of a much-loved story, presented with a simplicity and happy charm.Credit: Sergey Konstantinov

All in all, it’s a fine adaption of a much-loved story, presented with a simplicity and happy charm that makes it ideal for kids aged six and older.

The programme also features three short works after the interval: Paul Knobloch’s Degas Dances, Lucas Jervies’ Techno Requiem and Stephen Baynes; Nexus. All were featured as part of the School’s September Showcase.
Reviewed by Andrew Fuhrmann

OPERA
Maria Callas: A Concert in Hologram ★★★★
Melbourne Symphony Orchestra, Hamer Hall, December 7

As the click-clacking of the soprano’s heels beckoned her arrival to centre stage, the crowd in Hamer Hall held its breath. Would she be just as we imagined? Or some operatic conjuring of cheap tricks? There are special few singers so legendary even a shadow of them might still dazzle after death. La Divina, as she was known, is certainly one of them.

Maria Callas: A Concert in Hologram at Hamer Hall, December 7. Credit: Laura Manariti

Maria Callas never sang in Australia. Her glittering life was cut short in 1977 at the age of 53, the ghostly version which debuted alongside the Melbourne Symphony Orchestra was created by Los Angeles company, Base Hologram, which has also produced musical apparitions of Buddy Holly and Whitney Houston. Though it’s perhaps this genre that suits technological taxidermy best. After all, opera’s most beloved heroes – composers, conductors, singers – are all long dead.

A performance by La Divina could rarely be faulted in life, Carmen’s Habanera, Ebben? Ne andro lontana from La Wally and Norma’s Casta Diva are arguably the best versions you will ever hear.

The tech naturally does have limitations. One element that dispelled the illusion was that it was acutely apparent her sound was coming from speakers all around, rather than from the central figure. The hologram was most successful when, a la Callas, it was melodramatic. Time stopped as she flicked her fortune-telling cards into the air at the end of Carmen’s foreboding aria and they slowly drifted to the floor.

Led by American conductor Daniel Schlosberg, the MSO could never be accused of being anything but the real deal, this sort of traditional repertoire they could play with their eyes (almost) closed. With 30-odd players onstage, one only wished for the orchestra at its full might, particularly in Catalani’s La Wally Act 4 prelude.

Purists might scoff at the charade of it all, but there’s undoubtedly an audience for this strangely mesmerising Callas. Ultimately, there’s nothing that compares to live performance, but a pantomime Pavarotti might do just as well.
Reviewed by Bridget Davies

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