An element of surprise immediately arises as you take your seat for American choreographer Justin Peck’s Copland Dance Episodes. Designed by Jeffrey Gibson, a deliciously multicoloured show curtain reflecting the artist’s Native American heritage is a dazzling sight. Locked into the visual field is the subliminal inscription: “The only way out is through.”
It perfectly captures the intricate geometry, colour and kineticism to come, exemplified by Peck’s fusion of episodes from American composer Aaron Copland’s three major ballet’s – Appalachian Spring (1944), Rodeo (1942) and Billy the Kid (1938) – and headlined by his patriotic Fanfare for the Common Man (1942).
Incorporating 30 dancers across 22 seamless episodes, Peck’s classical inspired choreography, energised by a buoyant contemporary personality, drives a delightfully seductive experience.
Throughout, performers enter and exit in quick-paced, criss-crossing fashion, mingling with each other and, for just a moment here and there, recognising they have a path out to their audience.
The work was first performed in 2023 by New York City Ballet where Peck is Resident Choreographer. And despite the depth of American cultural influences it rests upon, its Australian premiere, presented exceptionally by The Australian Ballet (AB), reveals it as a modernist gallery of exuberant universal value.
The show curtain rises to the full cast in statuesque pose, sheathed in tulle, within the minimalism of an exhibition-like space. Then the opening sounds of a metallic crash and haunting timpani set the tone as brighter, golden elements of music attempt to break through (my first and almost last association with the subliminal inscription).
Copland’s brief Fanfare gives way to Rodeo, a male dominated space that begins with three clusters of four men rallying around and elevating a fifth. Everything about it speaks of camaraderie with a little humour added in the mix.
Peck achieves that with an effortless-seeming joie-de-vivre and the company of dancers oblige with impeccable precision of line, form and technique.
Senior Artist Isobel Dashwood later arrives as the only exception to this male domain, lithe and graceful in her work and a strong pairing with fellow Senior Artist Jeremy Hargreaves’ compellingly dynamic and muscular performance.
Gender balance reverses as Appalachian Spring unfolds – a predominantly female domain where clusters and connections retain the spirit of camaraderie, while notable en pointe footwork and pirouettes that peel off into stylish unpredictable ways create captivating images.
Soloist Samara Merrick and Senior Artist Maxim Zenin break through to reveal the warmth and tenderness of their union, Merrick with an uplifting nimbleness and spring while Zenin gives nuanced support via a powerful foundation.
In half light, as the section began, the conclusion of Appalachian Spring comes with a memorable circle of dancers spread on the floor feet pointed to centre. One by one the legs rise before ending with torsos drawn in to create what I couldn’t help but think looked like a monster Smartie cookie.
Perhaps, the only way out was through! Dancers stand up and split from the form as they continue with Billy the Kid. Here, the entire troupe of dancers provide some of the more variable choreographic streaks but the highlights rest in the more focused moments, particularly in the stop-start turntable-effect featuring eight dancers in a game of their own and a riveting pas de deux in which tensions flare between the once besotted couple and a desperation exists to communicate each other’s position.
Generally, however, there is no underlying narrative, which is not necessarily disrespectful of Copland’s original material. Abridged and spliced to form its own identity, Peck seems to celebrate the various scores’ multifaceted beauty.
Yes, the work can feel a tad like a sanitised version of life as we know it but, if its sole purpose was simply to stimulate through colour and movement, it comes through with flying colours. It nonetheless does more than that.
Costume designer Ellen Warren’s punchy, confectionery hued leotards add painterly daubs to Gibson’s blank canvas stage design. The final touches brought by Brandon Stirling Baker’s lighting complete a work of art.
That said, much of its success is, in no small part, due to the talented and ever-hardworking contingent of musicians of Orchestra Victoria. The symphonic textures and frequent tempi changes were crafted with aplomb at Tuesday’s opening night under AB’s Music Director Jonathan Lo.
It also continues to give me a buzz just how much love the audience have for this indispensable show-making orchestra – as does the energy and positivity AB Artistic Director David Hallberg brings to opening night introductions.
Copland Dance Episodes feels very much like visiting a modern art galley where the canvas comes alive and pleasure is derived whether analysing the art or not. It all comes in at just 75 minutes – spot on for the time-poor and well worth a winter outing!
Copland Dance Episodes
Regent Theatre, 191 Collins Street, Melbourne
Performance: Tuesday 23 June 2026
Season continues to 2 July 2026
Bookings: www.australianballet.com.au
Copland Dance Episodes will also be presented in the Joan Sutherland Theatre – Sydney Opera House from 6 – 21 November 2026. For more information, visit: www.australianballet.com.au for details.
Images: Artists of The Australian Ballet in Copland Dance Episodes (Peck) – photo by Kate Longley | Artists of The Australian Ballet in Copland Dance Episodes (Peck) – photo by Kate Longley | Jeremy Hargreaves and Isobelle Dashwood in Copland Dance Episodes (Peck) – photo by Kate Longley | Samara Merrick and Maxim Zenin in Copland Dance Episodes (Peck) – photo by Kate Longley | Benedicte Bemet, Riley Lapham and Yuumi Yamada in Copland Dance Episodes (Peck) – photo by Kate Longley
Review: Paul Selar