Scene from Jack Ziesing's work for 'This Poisoned Sea'. Photo: Maylei Hunt

Dance diary. June 2017

Jack Ziesing on This Poisoned Sea I recently spoke to several people associated with This Poisoned Sea, a forthcoming production to be performed in late July by Quantum Leap, the senior performing group of Canberra’s youth dance organisation, QL2. The story I subsequently wrote for The Canberra Times has yet to be published and, as often happens in these situations,

Kelly Nash. Photo: © Jinki Cambronero

‘Mā.’ Choreography by Kelly Nash. Atamira Dance Company        

Reviewed by Jennifer Shennan 16 June 2017, Hannah Playhouse, Wellington, New Zealand In Polynesian tradition, many stories are told of Maui, demi-god, culture-hero, voyager, adventurer and trickster. Numerous accounts of his personality and exploits can be found in different parts of the Pacific, but in his Maori manifestation he is renowned for the mighty work of fishing up Te Ika

Dancers of the Australian Ballet as cut-out dolls in Meryl Tankard's 'Wild Swans'. Photo: © Régis Lansac

Meryl Tankard’s ‘Wild Swans’

Just recently a colleague in France suggested I might enjoy a BBC radio program she had just heard in a series called Sound of Dance. The particular program, ‘The Contemporary Ballet Composer’, was hosted by Katie Derham and concerned music specially commissioned for dance. It included, as it happened, excerpts from two works we are shortly to see in Australia—’In

Chrissa Keramidas as Clara the Elder in 'Nutcracker. The story of Clara.' The Australian Ballet, 2017. Photo: © Jeff Busby

More thoughts on ‘Nutcracker. The Story of Clara’

I have to admit to disliking intensely the dumbing down of Graeme Murphy’s Nutcracker. The story of Clara with the ridiculous description of it as ‘The Gum-Nutcracker.’ The work might have strong Australian resonances, but it is much more than a story about early developments in Australian ballet. The so-called ‘affectionate dubbing’ of it with reference to the fruit of the eucalyptus tree makes

KAGE, 'Out of Earshot', 2017. Photo: © Jeff Busby

‘Out of Earshot.’ KAGE

9 June 2017, Chunky Move Studios, Melbourne. In conjunction with the Melbourne International Jazz Festival This work for four dancers and a drummer shook me up no end. It was often loud and often brightly lit. And you might think that the title referred to the fact that one of the dancers, Anna Seymour, was born profoundly deaf, and that

Artists of the Australian Ballet in 'Nutcracker', 2017. Photo Jeff Busby

‘Nutcracker. The Story of Clara.’ The Australian Ballet

10 June 2017 (matinee), State Theatre, Victorian Arts Centre, Melbourne A lot has been written over the years about Graeme Murphy’s Nutcracker—how it is an Australianised version of a well-loved classic, how it looks back to momentous events in Australian dance history, and so on. I am one of those lucky people who has seen every one of the seasons

Dance diary. May 2017

Canberra dance: funding news In the dire funding situation affecting dance artists across the country, it was a thrill to hear from Liz Lea that her third science show for schools, Reef UP!, has been funded by the Queensland Government under their Engaging Science Grant Program. Read more at this link. Lea, ever resourceful when it comes to collaborating and

Scene from 'Ocho'. Sydney Dance Company, 2017. Photo: © Pedro Greig

‘ORB.’ Sydney Dance Company

An expanded version of my Canberra Times review of ORB is below. The shorter review is as yet unpublished. [Update: The review appeared in print on 2 June 2017. Here is a link to the online version] Canberra Theatre, 25 May 2017 Full Moon, choreography Cheng Tsung-Lung, music Lim Giong, costume design Fan Huai-Chih, lighting design Damien Cooper. Ocho, choreography Rafael

Lorna Sim. Photographer

Lorna Sim is well-known in Canberra arts circles for her exceptional dance photography, and for her generosity in allowing her work to be used freely and frequently by journalists and others writing about dance. An exhibition of Sim’s work, entitled Enigma, specifically relating to a collaborative project she worked on with dancer Eliza Sanders, opens on 19 May 2017. The venue

From the poster image for 'La danseuse'.

Dance diary. April 2017

La danseuse. French Film Festival 2017 The publicity for La danseuse, which was shown around Australia during March and April as part of the 2017 Alliance française French Film Festival, assures us that the film is ‘based on a true story’, or sometimes ‘inspired by a true story’, about the now ‘largely forgotten’ Loïe Fuller. Well, it depends what part