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‘The diaries of Vaslav Nijinsky’. Paul Cox’s ‘cinematic poem’.

The death earlier in June of film maker Paul Cox sent me in search of a DVD copy of his film The diaries of Vaslav Nijinsky. The backstory is that Cox heard actor Paul Schofield on British radio reading from Nijinsky’s diaries (cahiers), which were first released in 1936 after having been rearranged and edited dramatically by Nijinsky’s wife, Romola.1 From that moment Cox

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‘The Peasant Prince’. Monkey Baa Theatre Company

4 June 2016, Playhouse, Canberra Theatre Centre In 2003 the story of Li Cunxin’s remarkable journey from a village in Shandong province in rural China to the world stage was published as Mao’s last dancer. The story was subsequently made into a film and then written as a children’s book, The Peasant Prince. Now it has become a theatre work for children

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‘Tutu’. The National Library of Australia Magazine, June 2016

One of the unfortunate consequences of the Federal Government’s so-called ‘efficiency dividends’, which have been forced on our cultural institutions over more years than I care to count, has been the demise of the National Library of Australia’s quarterly print publication, The National Library of Australia Magazine. The current issue, June 2016, is the last that will be printed. The

Swan Lake, Houston Ballet, headdress for von Rothbart 2

Dance diary. May 2016

von Rothbart Since seeing Stephen Baynes’ production of Swan Lake, first in 2012 and more recently in its revival of 2016, I have been thinking frequently about the nature of the character of von Rothbart, ‘an evil geni’, according to the cast lists of the earliest Russian productions. After reading on the Australian Ballet’s website that, in the Baynes Swan

Strictly Gershwin study

‘Strictly Gershwin’. Queensland Ballet

27 May 2016, Lyric Theatre, Queensland Performing Arts Centre, Brisbane Derek Deane made his Strictly Gershwin for English National Ballet in 2008 when it was shown in London’s cavernous Royal Albert Hall. I have to admit I wondered how it would look on Queensland Ballet in the rather more confined space of Brisbane’s Lyric Theatre. Well I need not have worried.

New Zealand Dance Company in a study for 'Lumina'. Photo: John McDermott

‘Lumina’. New Zealand Dance Company

The New Zealand Dance Company’s Lumina has just toured to 5 centres in the north island—one performance in Whangarei, in Mahurangi, Napier, Wellington, New Plymouth—after a premiere season last year of the same program in its home base, Auckland, and appearances earlier this year at the Holland Dance Festival—where incidentally Black Grace also performed. The company has been performing since 2012,

1970 Ruth Galene web

Ruth Galene (1929–2016)

Ruth Galene. Born Berlin, 10 January 1929; died Sydney, 17 May 2016 Ruth Galene, who has died in Sydney aged 87, had an extraordinarily diverse career in dance. Born Ruth Helfgott in Berlin of Polish-Jewish parents, she came to Australia in 1938. The family settled in Sydney and Ruth’s first formal dance experience was with Viennese émigré, Gertrud Bodenwieser. After a

James Batchelor on board the RV Investigator, 2016

Ausdance National. Where to now?

It is devastating news that Ausdance National will no longer receive operational funding from the Australia Council to continue its very significant activities in dance advocacy and support, activities that it has pursued with such commitment for close to forty years. A link to the press release from Neil Roach, acting CEO of Ausdance National, is here. In the press

Scene from Ghenoa Gela's Fragments of Malungoka-Women of the Sea. Photo: (c) Gregory Lorenzutti for Dancehouse, 2016.

Keir Choreographic Award. Finals 2016

7 May 2016, Carriageworks, Sydney There is no doubt that the Keir Choreographic Award,* generously sponsored by the Keir Foundation, is a major opportunity for emerging choreographers to make a mark on the contemporary dance scene. A packed Carriageworks venue last Saturday suggested that there is also more than a passing interest in the outcome of this award. And the

Leanne Stojmenov and Andrew Killian in 'Forgotten Land'. The Australian Ballet 2016. Photo: Daniel Boud

‘Vitesse’. The Australian Ballet

7 May 2016 (matinee), Joan Sutherland Theatre, Sydney Opera House The Australian Ballet’s triple bill, Vitesse, was not so much about vitesse (FR: speed) as about the look of ballet over the past thirty years or so. It began with Jiri Kylian’s Forgotten Land, moving, dramatic and emotion filled, continued with William Forsythe’s fiercely uncompromising In the Middle, Somewhat Elevated, and