AS the incandescent lights above dimmed, darkness blanketed the John Leslie Theatre and the audience hushed in anticipation before the heavy red curtains parted, and dancers from the Victorian State Ballet entered the stage for a magical performance of The Little Mermaid.
Lovers of dance, youngsters dreaming of becoming professional ballerinas and ballerinos, and those unacquainted with the art of ballet inundated The Wedge Performing Arts Centre last Friday, eagerly filing into the theatre before taking their seats, low chattering buzzing inside the walls.
Directed by Martin Sierra, the Victorian State Ballet rendition of the Hans Christian Andersen classic, brought to Sale by the Newborn Intensive Care Foundation, engrossed the diverse audience, provoking tears, gasps, laughter and exclamations throughout the performance.
A fusion of blue, yellow, orange and green stage lights transported the theatre to an underwater sea kingdom where Ariel (Elise Jacques) celebrates her 15th birthday alongside her sisters, father King Triton and his loyal subjects.
Tynan Wood was captivating, assuming the role of King Triton. His strong technique and skill to convey emotion were entrancing, and his physique resembled that of a Greek god stone statue – chiselled.
An obvious love for dance came from lead role Elise Jacques, who radiated charisma. Jacques danced with grace and engagement, executing a theatrical flare, fully succumbing to her character.
The performance boasted quality ensemble dancing which, combined with dazzling costumes, contextual backdrops and emphasising lighting, set a clear storyline, carrying the audience on an artistic journey.
While the entire cast made important contributions to an ultimately triumphant show, excellence came from Sera Schuller, who stole the spotlight in her role as Ursula.
Every movement was flawless; Schuller bewitched the audience, shooting emotion from centre stage like a spray of metal bullets on a battlefield. Her performance, character portrayal, impressive technique and skill were seemingly effortless.
Highly commendable is not nearly strong enough to explain Schuller’s performance.
In saying this, attention should not be drawn away from Wood, who also assumed the role of Chef Luigi.
An authentic comedy scene is not often thought of when one thinks of ballet. Sierra’s inception of theatrical choreography to Rossini’s The Barber of Seville and Wood’s incredible execution of his role as Chef Luigi, physically and emotionally, provoked unexpected, purely genuine laughter from the crowd.
Wood said it was a fantastic experience performing on the John Leslie Theatre stage.
“I love coming here, this being our second year performing in Sale, and so great to see such a wonderful audience response and following from last year,” he said.
“Seeing the young dancers and having some photos with them after the show is greatly rewarding.”
Lead dancer Elise Jacques shared Wood’s sentiments.
“It is wonderful to return to Sale to perform for the audiences in this region,” Jacques said.
“After such a great response from Nutcracker in 2021, I was delighted to see some familiar faces during the meet and greet after the show; it is so rewarding when audiences enjoy the performance.
“I take away a sense of achievement and satisfaction. Looking forward to our return in 2023.”
The Newborn Intensive Care Foundation (NICF) played a prominent role bringing the Victorian State Ballet to The Wedge, providing sponsorship via a donation from one of their corporate donors, Beyond Bank.
Having only operated in Gippsland since the end of 2019 after moving from Australia’s capital, Canberra, Peter Cursley, founder of NICF, sponsored the performance in hopes of further exposure.
“We thought the nine months lead up to the show would provide good exposure in Sale to a good socio-economic demographic,” Mr Cursley said.
“The foundation has only been operating in Gippsland since the end of 2019, so to gain fast brand recognition, the public exposure in various media that came with the sponsorship was deemed very good value.”
The NICF, established in 1995 after the premature death of Mr Cursley’s daughter Hannah, provides medical equipment unavailable through regular government channels to the Sale and Bairnsdale Hospital, which is vital in providing care to critically ill babies.
Staff from Sale Hospital’s midwifery department joined Mr Cursley for The Little Mermaid performance – a personal thank you from the NICF founder for their work.
“The foundation likes to foster a close and good relationship with hands-on clinical staff,” Mr Cursley said.
“Through the year, we were able to provide complimentary tickets to a number of nursing staff; our way of thanking them for what they do.”
The NICF is currently hosting a virtual fundraiser, Baubles for Babies. In keeping with the Christmas spirit, the fundraiser provides the opportunity to purchase a virtual Christmas tree decoration, ranging from $20 to $2000.
“Sale has so far raised $1640,” Mr Cursley said.
“The funds raised will go towards funding a special isolette cot; it provides a clean, warm cocoon-like environment for a recovering newborn baby.”
To make a contribution and support the NICF in providing Sale Hospital with a special isolette cot, or if you would just like to see how the tree is being decorated, head to https://visufund.com/sale-hospitals-special-care-nursery
