Danny Riley in Similar, Same but Different. Hot to Trot, 2020. Photo: © Lorna Sim

Hot to Trot (2020). QL2 Dance

Hot to Trot is an annual dance event in Canberra and is designed to give senior Quantum Leap dancers (who are mostly in their teens!) the opportunity to create their own choreography. Despite the issues that have plagued the arts community over the past several months, Hot to Trot 2020 went ahead in QL2’s black box space in Gorman Arts

Artists of the Royal Ballet in Flight Pattern. © ROH 2017. Photo: Tristram Kenton

Flight Pattern. The Royal Ballet Digital Season 2020

Crystal Pite’s Flight Pattern premiered in London in 2017 and it was a revival from 2019 that was streamed for the Royal Ballet’s 2020 digital season. Danced to a movement from Henryk Górecki’s sombre Symphony of Sorrowful Songs, it has a cast of 36 dancers and is ambitious in both scale and concept. It is also immensely moving and choreographically absorbing. Flight

New Works Festival. New York City Ballet

New York City Ballet’s recent digital offering was a remarkable collection of five short films by five different choreographers, filmed mostly around the Lincoln Center area. The films brought to the fore some fascinating issues about dance, about dance for film, and, during the discussion that followed each of the works, about how dancers are managing the pandemic facing us

The Sleeping Beauty. Royal New Zealand Ballet/Orchestra Wellington

29 October 2020, Opera House, Wellingtonreviewed by Jennifer Shennan This is a long-awaited season since the Company’s program, Venus Rising, had to be cancelled due to the Covid situation earlier this year. That had offered an interesting quartet of works, which we could hope to still see at some future date. The Sleeping Beauty is a major undertaking for any

Jack Riley and Nikki Tarling in 'Duplex' at the Accademia di Belle Arti di Firenze

Dance diary. October 2020

Jack Riley I recently had the opportunity to write a short article about Melbourne-based dancer and choreographer Jack Riley for The Canberra Times, my first piece of writing for this particular outlet in 50 weeks given certain changes that have happened to performing arts writing lately. My story had to have a particular focus and so I was not able

Leap into Chaos. QL2 Dance

15 October 2020, Canberra College Theatre As a result of the COVID 19 situation, two of the annual initiatives of Canberra’s youth dance organisation, QL2 Dance—the Quantum Leap program for senior performers and the Chaos Project for younger dancers— were combined this year, hence the over-arching name Leap into Chaos. The performance also took place in a different, but well

Ausdance ACT’s new director. Dr Cathy Adamek

Dr Cathy Adamek thinks it is time for regional re-engagement in dance. Adamek, who has had an extraordinarily diverse career across art forms to date, has just been appointed Director, Ausdance ACT. Her long-term vision is for making connections, including eventually establishing touring initiatives, initially between independent artists working in South Australia and the ACT. This aspect of a much

Dances at a gathering. The Royal Ballet Digital Season 2020

New York-based dance writer, Joan Acocella, whose critical writing I much admire, has spoken of Jerome Robbins’ Dances at a gathering, along with Paul Taylor’s Esplanade and Mark Morris’ Gloria as ‘benchmark works of the sixties/seventies youth cult, with their gangs of fresh-faced young folk skipping and running and falling to the accompaniment of high-art music’ and as being ‘in

Dance diary. September 2020

Gray Veredon on choreography I am pleased to be able to post some interesting material sent to me by New Zealand-born choreographer, Gray Veredon. He has just loaded the first of a series of video clips in which he talks about his aims and ideas for his choreographic output. He uses examples from his latest work, A Midsummer Night’s Dream,

Basking in reflected glory. Edith Campbell

I first met Edith Campbell in 2018 when I delivered the first Russell Kerr Lecture in Wellington. The day after the lecture Edith sent me a collection of items from productions by Opera-Technique Inc., the operetta company for which Kristian Fredrikson designed his very early shows, and with which Edith appeared as a performer. The material, which included press clippings