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

Athol Willoughby with Noelle Aitken and Naeidra Torrens, 'Swan Lake', National Theatre Ballet, 1950s.

Athol Willoughby. Lifetime Achievement Award 2018

The Australian Dance Awards committee has announced that the Lifetime Achievement Award for 2018 will be presented to Athol Willoughby, OAM, in recognition of his exceptional contribution to the dance profession in Australia for over 65 years. The presentation will take place in Brisbane at the Australian Dance Awards ceremony on 8 September. Willoughby has had a long and distinguished career as one of Australia’s leading

SPLIT. Lucy Guerin Inc. Photo: © Gregory Lorenzutti

SPLIT. Lucy Guerin Inc.

12 August 2018. The Studio, Sydney Opera House SPLIT began with two dancers, one wearing a rather drab, blue-grey dress, the other naked, performing on a marked-out square on the floor of the Studio, the Sydney Opera House’s most intimate performing space. Both dancers executed the same movements in unison. At times the choreography consisted of small movements of the arms,

Scene from 'Where we gather' from Two Zero, Quantum Leap, 2018. Photo: © Lorna Sim

Two Zero. Quantum Leap

For reasons that escape me, my Canberra Times review of Quantum Leap’s Two Zero, filed first thing Friday morning (the morning after!), has not yet appeared online, as is the usual practice. The review may appear in the print edition of The Canberra Times on Monday 13 August. In the meantime, here is an expanded version of that review. 9 August