Pas de Trois, a new play by Penelope Hare, offered an intriguing premise and moments of visual beauty.
Described as a one-act play that explores the complexities of female relationships in a world where artists must kill or be killed, Pas de Trois is a concept bursting with potential tension, though the execution on opening night felt somewhat measured.
While the ensemble tackled the challenging material admirably, there were opportunities for light and shade that could have been developed further, which would have added valuable nuance and allowed the moments of grand emotion to resonate more deeply.
Ella Court as Aurelie, Grace Johnston as Sylvie and Megan Bowker as Colette worked hard to embody competing ballerinas fighting for their future.
Their portrayals were perhaps hindered by wardrobe decisions, specifically skirts that lacked structure.
An effective, abstract makeup concept featuring bruise-like lines of brown, red and blue extending across the performers’ arms, chests and costumes provided a hint of unspoken themes of abuse, submission or even self-harm.
Appearing only as a spotlight and a menacing voice, Daniel Cromar as Maestro successfully conveyed a genuinely threatening presence.
Visually, the show had clear strengths. The staging by Lala Xi included a screen that displayed evocative Edgar Degas images and allowed the actors to perform striking silhouettes in the background.
Audio cues by Lauren Watt suffered some abrupt transitions between scenes, but the foundation exists for a cohesive atmosphere.
Pas de Trois provided an earnest exploration of ambition and art, showcasing emerging talent with room to grow during its season.
