Australian Baroque celebrate Ballet by Candlelight at UWA’s Winthrop Hall

Two thousand points of light and a bevy of celebrated roles lit up Australian Baroque’s Ballet by Candlelight at UWA’s Winthrop Hall on Saturday.

From the opening Merry Widow medley, reined-in to thé dansant style, a laid-back cool in the air honoured the feminine in art.

Not only was the string quintet led by violinist and director Helen Kruger, with violist Sally Boud, cellist Noeleen Wright and bassist Jacqueline Dossor, supporting ballerinas Sarah Hepburn and Lauren Murray (the only man on stage was first violin Brian Kruger, Helen’s brother).

But also the works chosen, while channelling the popular hits of the genre, showcased mostly female characters.

Tchaikovsky’s Nutcracker Suite followed, the Marche summoning Hepburn who immediately animated the stage as the Sugar Plum Fairy — proof, if needed, that ballet music needs dance to be complete.

Murray followed in the Arabian Dance, cooler tones and more sinuous gesture both muscular and mysterious.

Some floor work would be lost to the rear of the audience, but the distillation of the pas de deux into one role was energetic, intriguing and enticing.

Hepburn returned for Dance of the Flowers, vigorous in instrumentation though still more amuse bouche than main course.

Staying with Tchaikovsky, Swan Lake Theme and Odette Variation featured Hepburn in a shimmering display of classical technique, delicate and fluttering; drifting across stage en pointe as if on a rippling lake, with hints of tragedy in the deeper notes.

Murray paired that with vim and vigour in the Dance of the Little Swans, dizzying pirouettes and flying leaps combined with coquette-ish wit.

Sleeping Beauty Waltz as incidental music gave the dancers respite; five voices on stage covering for many more in the traditional orchestra pit.

Meditation from Massenet’s Thais inveigled Hepburn shrouded in red, an ethereal figure moving fluidly to the haunting refrains of Brian Kruger’s solo violin; accompaniment rising and falling in support, with a hint of melancoly in the close.

Finally Bizet’s Carmen changed pace, the Toreador’s Song dialling up exuberant gesture and expression from Murray, a surprisingly effective take on an operatic baritone solo making the most of jaunty rhythm.

Hepburn returned for Seguidilla, adorned in red and languid as the music with a hint of intrigue.

Murray followed suit in Les Dragons, black-clad with red fan in hand, flirting with the audience to the last flourish, before the ever-popular Habanera closed out the set; both dancers winning the crowd with grace and charm.

Australian Baroque’s Ballet by Candlelight is repeated on Saturday, September 4, 6.30pm and 8.30pm, at UWA’s Winthrop Hall. www.australianbaroque.com.