‘Snow White’ // Ballet Theatre Queensland

‘Snow White’ was enrapturing.

There is something endlessly enchanting about classic fairytales. Stories that have been told over millennia, yet still captivate audiences every time. ‘Snow White’, Ballet Theatre Queensland’s (BTQ) first-ever commissioned ballet with brand new choreography and score, gorgeously conveys the classic tale of Snow White.

Clare Morehen, Artistic Director of BTQ and ‘Snow White’ choreographer, wished to not only faithfully tell the timeless tale, but also explore the themes of loss and darkness when juxtaposed with innocence and brightness. It can be safely agreed upon, by all audiences, that Morehen has excelled in her vision.

The story of Snow White is a familiar one. A widowed King, with a beautiful young daughter, remarries an extremely vain Evil Queen. With magic mirrors and poisoned apples, the Evil Queen puts the beautiful Snow White into a coma despite the protection of Snow White’s new dwarven friends. After true love’s kiss from an unknown Prince, Snow White triumphs over the Evil Queen, restoring happiness to the land.

In order to more deeply explore the themes of the original tale, and add their own fresh twist, Morehen expanded the prologue to focus on Snow White’s mother (named Lillian) and the idyllic life that preceded the tragic events. This expanded prologue was an expert decision, as the masterful choreography and breathtaking composition by Dr. Lucas D. Lynch, Executive Director, conveys a story that immediately grabs the audience’s emotions and refuses to let them go. Other adjustments were made to tweak the story for a modern audience, such as replacing the Disney-famous 7 Dwarves with Pixies and substituting the now-questionable kiss with a tamer kiss-on-the-hand version.

Bill Haycock must be congratulated, for his set designs and prop utilisation were a master class in “less is more”. With one central back piece that was both the Evil Queen’s court and the Pixies’ house, the dancers and their craft were able to shine, complemented by Glenn Hughes’ adroit lighting design. However, it is the magic mirror prop that must be truly praised. By designing the mirror so that it can be opened by the Evil Queen’s Ghouls, this iconic object paved the way for enthralling storytelling, clever time transitions, and lent symbolism to the Evil Queen’s Mirror Dance.

Lynch’s composition was utterly magical and transportive, flinging audiences into the story with authoritative command. Every note matched the choreography and plot progression perfectly, demonstrating the meticulous effort Lynch and Morehen spent together. Lynch’s electrifying and impactful style was reminiscent of Pyotr Ilyich Tchaikovsky, with swelling climaxes and dainty melodies, while also being evocative of Alan Menken’s dreamy compositions. Another highlight of the ballet was the costumes, designed and made by Rebekah Ellis. Wondrously gorgeous, the costumes were a feast for the eyes and conveyed both character personality and setting. The standout was, of course, the Evil Queen’s outfits which were lavish, seductive, and commanding. Ellis’ skill was also apparent in the designs for the forest dancers, managing to evoke draping willow trees, cloying spiderwebs, and terrifying creatures made of shadows.

The choreography of ‘Snow White’ is an accomplishment that will be a shining star in Morehen’s career for years to come. The Mirror Dance and Chair Dance were particular highlights, with the Mirror Dance steeped in symbolism and sensuous choreography. While the Evil Queen and her mirror counterpart completed their pas de deux, the use of certain ballet miming choices typically reserved for more romantic duets showcased the extreme love the Evil Queen had for her beauty. The magic mirror prop also shone within this scene, as the shards were used to frame the dancers and refract light into the audience’s eyes. While this literally embodied the phrase “blinded by vanity”, it was a negative experience for the unlucky audience members who spent much of the scene having their vision obscured by blinding flashes of light. While the Mirror Dance’s beauty lay in the duo, the Chair Dance stunned with the militaristic precision of the corps de ballet. Utilising canons, sharp movements, and stark lighting, the Chair Dance sent shivers down every spine. While the clear storytelling within the choreography is to be praised, it did have the unfortunate side effect of occasionally side-lining the ballet and limiting the possibility for more complex techniques. This aspect impacted Caitlin Volker’s ability to fully demonstrate her technical range, as the Snow White role felt under-utilised at times. This was a particular misfortune, as Volker’s ethereal grace is something that should be heightened and experienced fully.

Sophia Gougoulas’ mesmerising performance as the Evil Queen will be remembered and exalted for years to come. Her technical ability astounded, while her acting and body language garnered endless praise. Even when she was simply standing, posed next to her new husband, Gougoulas exuded sultry satisfaction. Her acting of the Evil Queen’s displeasure, while easy to over-dramatise, was tightly controlled so that no comedic tone was accidentally conveyed.

As BTQ is a not-for-profit independent youth ballet company, the young talent (ranging from ages 8-17) showcased within this production is awe-inspiring. Even the junior dancers, not even on pointes yet, demonstrated a level of technical skill worthy of praise. While there were the usual opening night mishaps of delayed counts and wardrobe malfunctions, the troupe were unfailing in their devoted professionalism towards the show.

Ballet Theatre Queensland’s ‘Snow White’ is captivating, enchanting, and not to be missed. It is a major achievement within the Australian ballet scene, and clearly a favourite amongst the excitement of some audience members after the final bows. Morehen and Lynch are a creative duo to be watched, as any future projects dreamed up between the two are sure to be a success.

‘Snow White’ performs until Sunday, 26 January 2025 at Queensland Performing Arts Centre. For more information visit Ballet Theatre Queensland’s website: or visit QPAC’s website.

Photography: Quince & Mulberry