09 May 2012, Playhouse, Canberra Theatre Centre
Often the beautifully choreographed ‘curtain calls’ (there is rarely a curtain) in Quantum Leap productions are the most revealing aspect of this youth company’s capabilities. It is then that the dancers relax somewhat and their joy in moving, and their intensity and commitment to the show, is wonderfully clear. Unfortunately with Me Right Now, which centred on ‘the state of being young’, I thought the curtain calls were the best part of the show.
Dancers of Quantum Leap in Me Right Now. Photo Chris Canham. Courtesy QL2
There was a lot of spoken narrative in the first section, ‘You can’t perform a U-turn’, choreographed by Lina Limosani. Too much in my opinion. I’d rather see these young people expressing their ideas with a vocabulary of movement rather than words. And, while I understand the reason for the choreographic structure of the work being pretty much limited to having the dancers move across the stage in a straight line, Prompt to OP, it meant that overall the work lacked variety and subtlety. In fact, it became a little tiresome after a while.
Jade Dewi Tyas-Tungall’s ‘All to-get-her’ suffered a similar fate I think. Its title (remove the hyphens and run the words together) gives a clue to the reason for a choreographic structure that emphasised a certain kind of unity. But the constant crossing of the stage by lines of female dancers gave little visual variety and my interest flagged.
Matt Cornell’s ‘I do I will…’ showed what is a huge strength of the Quantum Leap endeavour—its ability to attract young boys to dance. I am also always impressed by the production values that Ruth Osborne and her team instill into every performance. And I always enjoy the way each section of the show blends seamlessly with the next. But for me Me Right Now lacked the kind of choreography that stops the mind wandering out of the theatre.
Michelle Potter, 13 May 2012