Review: Gems
Picture: On The Other Side, Gems, QPAC curtain call, featuring dancers from L.A. Dance Project and pianist Yanfeng (Tony) Bai (credit: Creative Futures Photography)
Van Cleef & Arpels is synonymous with the finest jewellery. But I will now always associate the luxury brand with the dazzling L.A. Dance Project Gems trilogy, created by Benjamin Millepied in collaboration with Van Cleef & Arpels. Congratulations to the Brisbane Festival team for securing the Gems Australian exclusive and world premiere. Drawing inspiration from George Balanchine’s 1967 Jewels (Rubies, Emeralds, and Diamonds), each the three Gems chapters—Reflections, Hearts & Arrows, On The Other Side—are contemporary works that stand alone, but work so incredibly well together in the single program.
The opening 40-minute Reflections is a striking collaboration that draws equally on the talents of the choreographer, dancers, visual designer (Barbara Kruger), composer, and lighting designer. Reflections has one of the most impressive visual concepts that I have seen on the Playhouse stage. In white lettering, on a ruby-red background, Barbara Kruger’s ‘STAY’ dominates, as the dancers move across the capitalised ‘Think of Me Thinking of You.’ The excellent music by David Lang, chosen by Millepied and Kruger from This Was Written by Hand/Memory Pieces, is played the impressive Yanfeng (Tony) Bai. The interplay between the dance and piano communicates the way in which the music is driving the dance, and is almost as if the dance is also inspiring the sound.
L.A. Dance is renowned for its leading-edge contemporary ballet, and Reflections is a fantastic demonstration of the creativity and skills of the choreographer and dancers (choreography by Benjamin Millepied, in collaboration with Julia Eichten, Charlie Hodges, Morgan Lugo, Nathan Makolandra, and Amanda Wells). In the first of the four Reflections acts the dancers present moving duets that evoke the dynamics of relationships as being intimate, complex, messy and beautiful. The shorter solo second act is a marvellous demonstration of Shu Kinouchi’s skill and lightness of classical moves, as they wow the audience with their playful agility and style in a way that suggests the joy that can be found in being alone. I love the interactions between the dancers and the text on stage in the third act, thanks to the lighting design highlights of pieces of the text (Lighting Design by Masha Tsimring), and the use of silence, evoking the ‘STAY-GO’ tensions in relationships through an exploration of presence and absence. And the tenderness of the closing duet between the two female dancers was a special way in which to conclude the work. Reflections is a rich, multilayered experience that I could easily watch again, and again, and again.
Gems is a trilogy, with two intervals that allow for audience reflection and artistic reset. At the Saturday performance, the first interval was longer than planned as the audience was advised that, due to an injury, the two remaining chapters would be presented as modified performances. This was the first time I have seen the works, so I am unable to comment on any differences or modifications, and it was difficult to see where any changes might have been made.
It was worth the slightly longer wait, as I love the 15-minute Hearts & Arrows ‘diamond’ reflections. Another great visual design where light and shadow interact with the dance (Visual Concept by Liam Gillick), together with glorious costumes, and excellent Tsimring lighting design. It is always so good to hear the music of Philip Glass performed live, here by the talented Queensland Chamber Orchestra’s Camerata quartet, but it is the brilliance of the choreography and dance that really shines in Hearts & Arrows, with the sense of travel, fun, movement, patterns, and reflections across the space. I was transported to New York Grand Central Station, as the work made me think about all of the busy-ness and also the quiet moments that can be found in the grand architectural space—with its opportunities for assignations, meetings and farewells.
The closing 40-minute On The Other Side was for me the perfect way in which to end the trilogy, set to the very special visual design by Mark Bradford. Bradford’s backdrop appears to change with the lighting and moves of the dancers, for me evoking the colours of the Kimberly Coast. Although trying to resist the temptation to impose a narrative, I read this as a classical portrait of a deathbed scene that inspires moments and memories of the joy and connections of a long life. The dance was intimate, playful, and occasionally breathtaking, with amazing and extended female solos, duets, groups, and ensemble work—evoking a sense of the true joy of living and the intimate tenderness of love. The solos are the highpoint of this piece, where the dance is a perfect ‘duet’ with, and interpretation of, Yanfeng (Tony) Bai’s piano (selected music by Philip Glass and others).
Gems is a true Brisbane Festival gem, and it was a privilege to experience this artistic event. It is wonderful to see talented dancers, where the creative collaboration that brings world-class choreographers, visual designers, musicians, dancers, and composers creates a special opportunity for our local community. Gems was a very special way in which to embark on my 2025 Brisbane Festival journey, and I am looking forward to uncovering some of the other ‘gems’ in the program this year.
Picture: Reflections (Gems) . Image credit Jade Ellis. NB NOT a Creative Futures Photography image.
Audience information: Gems, Playhouse, QPAC, Southbank, Brisbane (4-7 September 2025). 135 minutes, including two intervals. Suggest 14+. Tickets $90-135 plus $7.50 transaction fee.
The reviewer attended the Saturday 6th September performance (1pm).
A version of this review first appeared at Nothing Ever Happens in Brisbane.