Artists of Sydney Dance Company in 'Forever & Ever', 2018. Photo: © Pedro Greig

Forever & Ever. Sydney Dance Company

17 October 2018. Roslyn Packer Theatre, Sydney

On a double bill program it would be hard to find two dance works as diametrically opposed, or so it seemed on the surface, as Rafael Bonachela’s Frame of Mind and Antony Hamilton’s Forever & Ever. Together they made up Sydney Dance Company’s newest season, which goes under the umbrella name of Forever & Ever.

Frame of Mind is not new, having had its inaugural season in Sydney in 2015. Then I was especially taken with the way the work was structured. I wrote on DanceTabs:

I loved how this work was structured choreographically. More and more Bonachela makes use of the full company in segments where unison dancing dominates. Against this he gives us powerful solos—solos by David Mack and Cass Mortimer Eipper were especially strong—or fluidly moving quartets, trios and duets. Richard Cilli and Jesse Scales had an especially smooth duet filled with swirling, circular movements. The work was also nicely paced, with Cisterne’s lighting providing moments of half-light as visual contrast.

Although there have been several cast changes since then, the structure of Frame of Mind remains as beautifully organised as ever. But this time I was sitting in the front row of the Roslyn Packer Theatre and I had a very different view of the performance. I could not help but be astonished at the incredible dancing of every single performer. Their attention to even the tiniest detail of Bonachela’s choreography was masterful, and Bonachela’s choreography is certainly filled with detail, and with all kinds of unexpected moves on unexpected parts of the body. I was struck too by the extreme physicality of the dancers, their finely honed musculature, their at times unbelievable flexibility, and their unwavering commitment to perfection. All these features have always been obvious but from row A in the theatre these qualities came home with much greater emphasis.

It was also a thrill to have live music with the Australian String Quartet playing three of Bryce Dessner’s captivating compositions for strings.

Artists of Sydney Dance Company with the Australian String Quartet in 'Frame of Mind'. Photo: Pedro Greig

Artists of Sydney Dance Company with the Australian String Quartet in Frame of Mind, 2018 Photo: © Pedro Greig

Bonachela’s choreography has always been characterised by a satisfying flow of movement. So it was something of a shock to be confronted by Hamilton’s much more sharply angular, robotic choreography and static poses in Forever & Ever, which was the second work on the program. At times I was reminded of clockwork toys and, with the poses, there were moments when I thought either of Lego figures or, at the other end of the spectrum, suprematist images (from the 1936 Berlin Olympic Games, for example).

Jesse Scales led the cast of Forever & Ever and did so with strength and clarity from the beginning, which began on a half-lit stage before the audience had quietened down after the interval. And did they quieten down when suddenly, and without warning, the stage lit up with a bang!

Jesse Scales and artists of Sydney Dance Company in 'Forever & Ever'. Photo: © Pedro Greig

Jesse Scales and artists of Sydney Dance Company in Forever & Ever, 2018. Photo: © Pedro Greig

Then there were the costumes. The elegant, black, subtly diverse, easy-to-dance-in costumes by Ralph Myers for Frame of Mind stood in dramatic contrast to the costumes for Forever & Ever by Paula Levis. These latter costumes were of all shapes and colours and included long, black hooded gowns with sharply pointed, cone-shaped white ‘gloves’ (for want of a better word); white monks’ garb (the ‘monks’ also carried lanterns which lit up occasionally); white, puffy jackets over black and white zig-zag patterned pants; mustard yellow jumpers, short black pants; and lots more. And costumes were freely and frequently removed to reveal new items underneath them. (You can see the discarded items piled up at the back of the stage in the featured image to this review).

Scene from 'Forever & Ever', Sydney Dance Company 2018. Photo: © Pedro Greig

Scene from Forever & Ever, Sydney Dance Company, 2018. Photo: © Pedro Greig

But in the end the costuming, as incredible as it was, bore little relation to anything, a bit like the theory of deconstruction where meaning is meaningless. Discarding one costume for another, willy-nilly, made it clear that no costume had an intrinsic meaning within the work, even though we could draw conclusions about them using our memory of other things. Which brings me to the next point. Despite the obvious differences between the two works, there was something similar about them. Bonachela always suggests that his abstract works are open to interpretation. Sometimes he mentions his own inspiration behind a particular work, but always we are left to find our own emotional ‘meaning’ in his works. With Hamilton, at least in this case, his postmodern technique of making references to many things meant that no one aspect seemed dominant. So, as with Bonachela’s work, we were left to make up a meaning for ourselves, if we felt the need. Or, we could simply say there is no definitive interpretation of anything, which seemed to me to be in the spirit of Hamilton’s work.

This program was remarkable for showing us the breadth of what contemporary dance can accomplish. But the most exciting bit was that both works were stunningly danced.

Michelle Potter, 19 October 2018

Featured image: Artists of Sydney Dance Company in Forever & Ever, 2018. Photo: © Pedro Greig

Artists of Sydney Dance Company in 'Forever & Ever', 2018. Photo: © Pedro Greig

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 Bonachela, music Nick Wales featuring vocals by Rrawun Maymuru, costume and set design David Fleischer, lighting design Damien Cooper.

The dancers of Sydney Dance Company have once again stunned audiences with their extraordinary physical skills in a double bill program with the over-arching title of ORB. Explosive, athletic, swirling, superbly controlled, fast-paced, and many other expressions come to mind. Can their techniques get any better? I ask this question of myself every season and every season I ponder how they can continue to perform with such passion and power. ORB can give huge pleasure from thinking purely of the physical execution of the choreography.

But the program becomes totally fascinating if one delves a little further. Take Full Moon, which opens the program, for example. Each of the eight dancers in this work is dressed differently, and spectacularly so by Taiwanese fashion designer Fan Huai-Chih. And it turns out that each represents a different character associated in some way with the moon.

Latisha Sparks in 'Full Moon'. Sydney Dance Company, 2017. Photo: © Pedro Greig

Latisha Sparks in Full Moon, Sydney Dance Company, 2017. Photo: © Pedro Greig

Latisha Sparks, dressed in a bright red, tiered and flounced dress (red being the colour of luck and happiness), represented a female warrior, with a nod to the Hindu deity Shiva who often is portrayed with a crescent moon on  his forehead. Shiva is also said to have ‘matted hair’ and Sparks’ hair certainly looked rather tousled on the night I saw the show. Was she wearing a wig, I asked myself? Then, choreographically, Sparks’ continuous whirling arm and hand movements recalled the multiple arms of some representations of Shiva, and her writhing and rolling movements across the stage suggested engagement as a warrior in battle.

Jesse Scales was also fabulously dressed in a silvery-white dress of clean-cut but off-centre lines. She was the rabbit in the moon from Chinese mythology. Her movements were often tiny, darting and filled with small jumps.

Jesse Scales in Full Moon, Sydney Dance Company, 2017. Photo: © Pedro Greig

There was very little contact between each of the characters and, as they performed their individual dances, there was often stillness or just a hint of slow, controlled movement from the other characters. Bernhard Knauer in fact spent much of the time frozen in a meditative position.

Latisha Sparks and Bernhard Knauer in 'Full Moon', Sydney Dance Company, 2017. Photo: © Pedro Greig

Latisha Sparks and Bernhard Knauer in Full Moon, Sydney Dance Company, 2017. Photo: © Pedro Greig

The whole work was ablaze with references to deities and mythological creatures, and was filled with juxtapositions of movement and stillness.

Ocho, on the other hand, did not focus on stillness, even though there were times when several of the dancers were enclosed inside David Fleischer’s industrial-looking concrete and glass box that comprised the set: they mostly watched other dancers performing outside the box. Bonachela made Ocho (eight in Spanish) in his eighth year as artistic director of Sydney Dance Company and has used eight dancers in the work. But, like most of Bonachela’s works, there is nothing particularly significant in a narrative sense about the title. Ocho, the work, is contemporary dance in which we are left to have an opinion of our own, which may or may not be the same as anyone else’s.

I found the work, with its grinding score by Nick Wales, and its often-gloomy lighting by Damien Cooper, unsettling and harsh. This feeling was perhaps accentuated because, while watching it, it was impossible not to be thinking of the capriciousness of Full Moon. As well, Ocho‘s down-to-earth costuming (by David Fleischer) couldn’t have been more different from that of Full Moon. But then Ocho was meant to have an industrial feel to it and it succeeded in doing just that.

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

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

What was interesting was the fact that Bonachela used his dancers in this work more as soloists than as members of an ensemble—Charmene Yap had the standout solo for me. Nevertheless, there were some sections in which unison movement shone and these sections seemed to fit the music better, or at least made it seem less harsh. Another notable feature, this time of the score, was Wales’ incorporation of vocals from indigenous singer Rrawun Maymuru. I was expecting the score to change pace somewhat at this stage, but the change was to my mind only minimal. The volume and pounding quality continued.

Sydney Dance Company continues to push the boundaries of contemporary dance and for that Bonachela deserves admiration. We, as audience members, need to be pushed into new dance experiences, and Sydney Dance Company certainly does that for us.

Michelle Potter 31 May, 2017

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

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

 

 

Scene from 'Epic Theatre' Photo Pedro Greig

New Breed (2016). Sydney Dance Company

9 December 2016, Carriageworks, Eveleigh (Sydney)

The most ‘left-of-centre’ work on this year’s New Breed program was the final offering, Shian Law’s Epic Theatre. His premise, which he enunciated at the end of his work, was that theatre is basically one set of people looking at another set of people. And so he played with who was audience and who was performer, beginning as we entered the performing space for the start of his work. There was, however, a kind of ‘taster’ during the interval when we watched two dancers engaging in a powerful physical encounter outside the theatre space. (Carriageworks doesn’t really have a lobby as such).

Once inside, we were confronted by a line of people, a mix of dancers and audience, with arms linked tightly. The way to our seats was effectively blocked. Gradually we were given an opportunity to move to our seats and once everyone was in, there was some crazy dancing, especially from the tall and physically expressive Sam Young-Wright who, at one stage, stripped down to his underpants. There was also a lot of walking up, down, and around the performing space by dancers and some audiences members. But in the end, as entertaining as it all was, and that entertaining aspect extended to an electronic score played live by composer Marco Cher-Gibard, the idea was more interesting than the performance.

Coming in a close second in the left-of-centre stakes was Richard Cilli’s Hinterland. It began with a section in which a group of dancers ‘commented’ on the dancing of their colleagues with noises of various kinds—grunts, whoops and a range of silly sounds. Then followed a section when the dancers collapsed in a writhing heap while the triumphant strains of Liszt’s Chapelle de Guillaume Tell filled the air. The work finished with a section in which there was an ongoing discussion of which dancer was most like which character in the movie Titanic. (Bernhard Knauer was the iceberg!)

According to Cilli, Hinterland ‘explores the tension between outward appearances and the vast inner landscape.’ A little like Epic Theatre, the idea was a rather more interesting than the outcome. Having said that, some parts Hinterland were quite funny and Daniel Roberts was particularly expert at making his silly noises sound perfectly suited to the movements of his colleagues

I really enjoyed the opening work, Jesse Scales’ What you see, even though it might be regarded as the most conventional of the evening’s offerings—if indeed anything emerging from Sydney Dance can be thought of as conventional. Made for just three dancers, Cass Mortimer Eipper, Nelson Earl and Latsiha Sparks, and performed to music by Max Richter, it consisted basically of three solos, followed by a group section in which the silent screams of each of the dancers was a gripping element. Each solo focused on a different kind of gloom or torment, but the dancing was so good that the darkness of mood did not overpower the work. The whole was carefully composed with each solo following on smoothly from the other, and with the performers often moving down the diagonal with the kind of extreme movement that characterises much of Sydney Dance Company’s work. All three dancers performed exceptionally well and their facial expressions were a powerful means of highlighting the moods of What you see.

Scene from 'What you see'. Photo Pedro Greig

Scene from What you see, Sydney Dance Company. Photo: © Pedro Greig

For me the work of the night, however, was Rachel Arianne Ogle’s Of Dust, which explored connections between the stars, and other cosmic forces, and man’s journey from birth to death. It was a fast moving piece danced to a commissioned score by Ned Beckley. It began with a tightly knit group of dancers, five in all (Juliette Barton, Richard Cilli, Nelson Earl, Cass Mortimer Eipper, and Charmene Yap), pulling each other and the group into a series of constantly changing shapes. There was tension there, but also a feeling of unity. What followed teetered between order and disorder, connections and disconnections with some wonderful dancing from Juliette Barton and Charmene Yap in particular. Partnering was exceptional and the work moved swiftly and lyrically from beginning to end.

Unlike the situation with What you see, perhaps it would have been difficult to make the connection between Ogle’s work and her intentions without program notes, but Of Dust was a beautiful work to watch. It is the first piece I have seen from Ogle, who is based in Western Australia. I look forward to seeing more.

Scene from 'Of Dust'. Photo Pedro Greig

Scene from Of Dust, Sydney Dance Company. Photo: © Pedro Greig

Lighting for each of the four works was by Benjamin Cisterne and was most effective in Of Dust where Cisterne was able to use downlights, circles of light, changing colours, and other devices to add to the feeling that we were looking beyond the earth.

Michelle Potter, 14 December 2016

Featured image: Scene from Epic Theatre, Sydney Dance Company. Photo: © Pedro Greig

Scene from 'Epic Theatre' Photo Pedro Greig

On another note, it is frustrating that Sydney Dance Company no longer provides names  of dancers in the captions attached to its media images. The dancers of Sydney Dance Company are all exceptional performers and deserve to be identified. I can guess but I’d rather be sure by having the company do the work of identification.