Graeme Murphy personally captures the spirit of  'The Tivoli’ at the State Theatre for the second time, originally presented by the Sydney Dance Company and the Australian Ballet’s collaboration in 2001.

I wasn’t round for the original ‘Tivoli’ (the evolution of Australia’s Tivoli ranging from the early 1900’s to the mid 1960’s), but any old-timer smiles when it is mentioned. Nudes on stage who had to remain quite still – like statues – to avoid vice squad busts (whatever  would those ancient ‘powers that were’ make of this weekend’s Mardi Gras in Sydney?!), ‘well-brought-up’ debs (now elderly ladies) whose families frowned at their Tivoli nights out, and sophisticated glamourettes who adored the razzle dazzle and the cocktails.

Murphy takes us to the Tivoli one step removed, winding his choreographic skills around the popular culture of stage production, comedy acts, ventriloquists, contortionists, singers and showgirls – but with the grace and beauty inherent in all his creations. A nostalgic circus for grown-ups that is woven together by a master of beauty.

Special mention must be made of Harry Hawthorne, amazing on roller skates, Tracey Carrodus, magic as a ventriloquist’s dummy with attitude, Matthew Shilling and Chylie Cooper in a face slapping, passionate couple in back-street Paris number – and, of course, the mesmerising Sydney Dance company in (and out of) their sequins and feathers who can embody lithesome, leggy sexiness and grace without a seam.

And Murphy is a poet...

At one instance he has the stage halved - showing his W.W.2 Betty Grable girl's at the front with their slouch hats, army showgirl shorts, and long, long legs - and the young soldiers on the European war-scape at the back (the Tivoli life-time encompassed both World War’s 1 and 2, and the Tivoli players entertained the troops on both tragic and romantic occasions). The boy's, with an explosion-streaked, evening sky behind them, enthusiastically begin to climb the rope partition (to get to the girls of course) and are so realistically picked off - one by one - by rifle shot I do not think one member of the audience didn’t shudder. Murphy uses his stylised art form perfectly to portray the absolute horror of war, and its unspeakable waste of young and innocent lives.

If you didn’t see Graeme Murphy’s Tivoli in 2001 (or the real thing, many years before) do get to it this time round. Graeme Murphy is totally deserving of his ‘National Living Treasure’ status, which was awarded to him by the National Trust of Australia in 1999.