Dancers from the Australian Ballet School in 'Alegrias'. Photo Sergey Konstantinov

Showcase 2018. The Australian Ballet School

22 September 2018. The Playhouse, Canberra Theatre Centre The Australian Ballet School’s annual Showcase came to Canberra this year, and what a treat it was. It is, of course, what it says it is, a showcase of dancing by students of different levels studying at the Australian Ballet School. But it was such an interesting and pleasurable experience to see

Black Grace + Friends. Artistic Direction, Neil Ieremia. Photo: Duncan Cole

Crying Men. Black Grace

20 September 2018. Te Rauparaha Stadium, Porirua Reviewed by Jennifer Shennan Crying Men broke powerful new ground for Black Grace and director Neil Ieremia in a three-performance season at Te Rauparaha stadium in Porirua. The opening work, Gone, resulted from a recent workshop conducted with 16 pupils from local schools, Porirua College, Mana College and Aotea College. Its taut atmosphere centred

Featured image: Scott Elstermann in a moment from a performance by Cunningham Residency dancers. National Gallery of Australia, 2018.

Merce Cunningham Residency. National Gallery of Australia

The National Gallery of Australia, with support from the Embassy of the United States of America, has just finished hosting a dance residency in conjunction with its exhibition American Masters 1940–1980. Three dancers were selected to work with Jamie Scott, a former Cunningham dancer and now one of a number of such dancers charged with staging the Cunningham repertoire. Cunningham

Australian Dance Awards 2018

The 2018 Australian Dance Awards, the 21st since the current format was introduced in 1997, were held in Brisbane on 8 September. Initially they were held annually in Sydney and followed on from the Dancers’ Picnic initiated by Keith Bain to celebrate International Dance Day (29 April). Now they are more inclusive in terms of where they are held with

Liam Geck as the Jester in ‘Cinderella’ Queensland Ballet, 2018. Photo:David Kelly

Cinderella. Queensland Ballet

7 September 2018. Lyric Theatre, Queensland Performing Arts Centre, Brisbane Ben Stevenson’s Cinderella, which Queensland Ballet performed in its latest season, was first made in 1970, almost 50 years ago. I’m afraid it is showing its age a little. While Queensland Ballet’s dancers go from strength to strength every time I see them, I think they need something more powerful

ab [intra]. Sydney Dance Company

1 September 2018, Canberra Theatre In his first full-length work for several years, Rafael Bonachela has made a startling, extraordinarily powerful dance piece to an original score by Nick Wales (extra music by Peteris Vasks), with lighting from the remarkable Damien Cooper and production design from David Fleischer. The title ab [intra] (Latin: from within) we are told refers to ‘the

Ako Kondo and Ty King-Wall in 'Giselle' Act I. Photo: © Jeff Busby

Giselle. The Australian Ballet (2018)

30 & 31 August 2018, State Theatre, Victorian Arts Centre, Melbourne Maina Gielgud’s Giselle, brought back once more by the Australian Ballet for a Melbourne only season, began beautifully—so beautifully that it gave me goose bumps. Small groups of villagers moved across the stage, interacting with each other, laughing and joking, while Orchestra Victoria, masterfully led by Simon Hewett, put us

James Batchelor in ‘Hyperspace’. Photo: Morgan Hickinbotham

Dance diary. August 2018

James Batchelor James Batchelor has been busy touring his recent works, including Deepspace, in the United Kingdom and Europe. Deepspace will also be shown back in Australia in November. See this link for details. Batchelor also has news of his latest production, Hyperspace, which is the third and last work to focus on his explorations into the world of Antarctica. He

Mao’s Last Dancer. The Exhibition

Immigration Museum, Melbourne, until 8 October 2018 The story of Li Cunxin, current artistic director of Queensland Ballet, and his journey from China to the West, is well-known from Li’s autobiography Mao’s Last Dancer, published in 2003. But the Immigration Museum’s exhibition, subtitled ‘A Portrait of Li Cunxin’ also seen last year in Brisbane, adds very nicely to that story.

Nadia Yanowski and Paul Mathews in 'Remember, Mama', Royal New Zealand Ballet 2018. Photo: © Stephen A'Court

Strength and Grace. Royal New Zealand Ballet

17 & 18 August 2018. Opera House, Wellington Reviewed by Jennifer Shennan The Royal New Zealand Ballet’s Strength & Grace program consists of  four choreographies by women invited to mark the 125th anniversary of women achieving suffrage, with Kate Sheppard and her many New Zealand followers having led the world in that. It’s Sheppard’s face on our $10 bill, she is