Ballet - stroppy sheilas, sexy divas

Sassy and spectacular ... that's how the RNZB artistic director describes some of its new season's productions to BERNADETTE RAE.

Gary Harris, the new artistic director of the Royal New Zealand Ballet, had nothing to do with designing the 2002 Subscription Series, announced this week. It will be another year before his influence will be reflected in the choice of the company's major works.

But his description of the coming year's activities is all his own.

"It's a year for stroppy sheilas and sexy divas," he says.

First up is the Meridian Season of The Hunchback of Notre Dame, playing around the country during February and March. This Hunchback is choreographed and directed by British artist Michael Pink, who brought last year's hit Dracula to the RNZB repertoire. Pink's interest and particular talent is dramatic story-telling, marrying dance and spectacular stage effects.

Victor Hugo's tale of love, deception and murder in medieval Paris centres on the gypsy Esmeralda, who captivates the hideously deformed Quasimodo and his ruthless master the Archdeacon Frollo, as they plunge headlong into certain tragedy.

The Lotto Season of Swan Lake follows in June and July. Swan Lake was last performed by the RNZB in 1996. This time international stars will join company dancers in the classical favourite and Harris will restage Russell Kerr's original choreography.

The year will close with the hot-blooded and irresistible Carmen, in a stylish and sassy production first performed by the Northern Ballet Theatre in 1999. Carmen opens in Wellington in November.

Dutch-born Didy Veldman, one of a handful of women choreographers working in the international ballet world, has set the story of the seductive temptress in modern-day Rio de Janeiro, where gangsters and cult rock stars populate the seedy underbelly of the city.

Harris gives the 2002 line-up the thumbs-up. "Our repertoire for 2002 confirms the company's strong classical base as well as its healthy attitude to innovation. It will be another year packed full of dynamic dance."

Harris will carry on the direction set by his predecessor and close friend, Matz Skoog, in developing a strong contemporary company profile while honouring the traditional, he says.

But he intends to "turn the gas up" and that will happen first in company class.

"I will be teaching - a lot," he says. "There is a way of moving that I would like the company to strive for. It focuses a lot on epaulement - using the shoulders, creating a three-dimensional line."

That is in technical-speak. In Harris-speak the look he wants is "sexy, fluid, juicy".

He also wants to develop a strong international identity for the company that will carry it into new venues, at home and abroad.

That will mean "bringing in repertoire that supports our style - and not just bringing in things because we can".

He is a huge fan of British choreographer Christopher Hampson, whose Saltarello was performed here last year, with Harris' own slinkily sophisticated design.

Hampson's take on Romeo and Juliet is a strong possibility for 2003. So also is a William Forsythe work.

"William Forsythe," says Harris, "is the man who has taken classical ballet into the 21st century. He works with the classical technique, but extends it, gives it an edge that is a total inspiration to both dancers and audience. Every step is articulated, everything beautifully performed.

"He respects all that classical heritage, but gives it so much more."