Fresh, innovative, inventive: choreographer Christopher Wheeldon is revolutionising the world of ballet. He spoke to AXN ahead of his company’s Australian premiere at the Sydney Festival. By Reg Domingo.

The UK’s The Daily Telegraph said “fresh” and “glorious”. The New York Times said that there are new discoveries to be made each time you watch a performance. The Sydney Morning Herald calls it the hottest ticket at the Sydney Festival. No, it’s not Grace Jones – it’s Morphoses.

Formed in 2007, Morphoses is one of the world’s most exciting new contemporary ballet companies. In a short space of time, the company, based both London and New York, has quickly established itself as a major creative force in the dance world, thanks the vision and artistry of its helmsman, Christopher Wheeldon.

Often regarded as the world’s most in-demand choreographer, Wheeldon, who is openly-gay, is one of the most celebrated figures in ballet. In describing his work, writers and dance aficionados use words such as ‘inventive’, ‘unique’ and ‘innovative’. He has a reputation for bringing out the best dancers as well as the best in dancers. The New York City Ballet, The Royal Ballet, San Francisco Ballet and The Metropolitan Opera are just some of the companies that have benefited from his work. In 2005, he became the first Englishman to create a new work for the Bolshoi Ballet, one of the world’s oldest and greatest ballet companies.

When Morphoses hits Australia during the Sydney Festival, it will do so with the inclusion of some of ballet’s leading lights. Among them are five Australians such as Matt Trent and Damian Smith, as well as guest artists from The Australian Ballet. No one says no to Wheeldon. Many an artist jump at the chance to work with him.

“I’ve been very lucky because I’ve worked with a lot of dancers over my years as a choreographer and they all believe in the spirit of Morphoses,” he tells AXN. “It creates a really interesting dynamic to have all of these dancers from different stylistic backgrounds melding and having a dialogue as grown-up professionals. Quite often, dancers are treated like children, but I think what we try to do at Morphoses is promote a good strong camaraderie between the dancers.”

And not just dancers, but artists, musicians and designers as well. A strong factor in Morphoses’ success is its ability to present ballet beyond traditional boundaries. Its performances often marry dance with music, visual arts and design. Wheeldon even steps out onstage at the beginning of each performance to pre-empt the audience on what they are about to experience.

“I do it to kind of develop a new audience, and perhaps for first-time ballet goers who might be concerned that they’re not quite sure they’re going to understand what it is they’re going to watch,” he says. “It’s reassuring for them for me to come out and give a bit of information about the work and to encourage them that it’s not necessary to fully understand everything. That’s part of the beauty of contemporary ballet – quite often it’s abstract and it’s kind of painting your own picture. It’s nice to be able to give people just a little bit of information to hold onto while they’re watching the work.”

The Sydney Festival show will feature four works including Wheeldon’s 2001 masterpiece, Polyphonia, and Fools’ Paradise, his latest creation. The 15-member dance troupe will also perform leading US choreographer William Forsythe’s Slingerland Pas de Deux.

“What I was looking for was a nice varied program that wasn’t going to be too long,” Wheeldon says. “It’s the summer and there’s nothing worse than being held hostage in a theatre for too long. It’s a show that’s going to be accessible, that’s going to show the dancers off really well, and that’s going to be entertaining.”

Morphoses/The Wheeldon Company, January 22 – February 1 at Theatre Royal, MLC Centre, 108 King Street, Sydney. For tickets go to sydneyfestival.org.au