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 honoured in many parts of the country, particularly Christchurch her home town, and is considered by many to be New Zealand’s second most influential person, so a good choice by RNZB to allow choreographies to grow from her inspiration.

Overall, each of the four works has considerable strengths, but it is the dancers’ outstanding performances of commitment and calibre that made the night. I consider one of the works would be a true standout in any context or themed season, but each of them will have appealed to one section or another of the audience. It was in fact easy to find colleagues and friends, both younger and older, who had chosen a different favourite. Thankfully it is not a competition.

The first piece, So To Speak, by American choreographer Penny Saunders, explored the domestic relationships within a family. Kirby Selchow and Loughlan Prior, as Mother and Father, used striking gestures of clarity and fine timing in a highly effective opening motif, around a table downstage left, though the work became somewhat diffused when a large chorus-like cast entered. The use of pointe shoes for the Mothers but soft shoes for the Daughters, with close to identical dress for both generations of women, were subtle design choices lost on many I suspect. Dramatic opportunity to express the tensions between parents and children was lightly referenced, but the music of four different composers made for a somewhat meandering choreographic structure. Nonetheless the work made its mark and the performances were strong.

Loughlan Prior and Kirby Selchow in 'So to Speak', Royal New Zealand Ballet, 2018. Photo: © Stephen A'Court
Loughlan Prior and Kirby Selchow in So to Speak, Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court

The second piece, Despite the Loss of Small Detail, by New Zealander Sarah Foster-Sproull, was sharp and spunky, and held great appeal for younger audience members. Eden Mulholland provided a lively percussive accompaniment, and the strength of movement delivered by the dancers certainly matched it. Abigail Boyle was a compelling central figure, supported by a somewhat enigmatic group of dancers. One memorable sequence had them stabbing the stage using pointe shoes as weapons, in a trope reminiscent of Akram Khan’s recent Giselle. The fashion-led design choice of costuming brought whimsy to what was nonetheless a serious declaration of independence.

Abigail Boyle in Despite the Loss of Small Detail, Royal New Zealand Ballet, 2018. Photo: © Jeremy Brick

Abigail Boyle in Despite the Loss of Small Detail, Royal New Zealand Ballet, 2018. Photo: © Jeremy Brick

The third work, Remember, Mama, by Australian Danielle Rowe, was to my mind the clearest work overall in both structure and theme. Although it also used four different composers, there was a distinct adjustment within the choreography at each section which made for welcome coherence to its unfolding. Nadia Yanowsky gave a strongly felt performance as The Mother, relating to The Son at various ages played by three different dancers. Shaun James Kelly always dances with quality and was a sparkling delight as the young child, using Mozart’s Ah! Vous Dirais-je Maman to great effect. Fabio lo Giudice was a sultry teenager, but Paul Mathews danced the adult son with a deep empathy and tenderness for his mother that will have touched many. He is a dancer with the intuition of an actor for how to portray character, and is one of the company’s real strengths. The group of men seemed like soldiers lost to the call of war, perhaps. The group of women fought as hard as any soldiers.

Dancers of Royal New Zealand Ballet in 'Remember, Mama', 2018. Photo: © Stephen A'Court
Dancers of Royal New Zealand Ballet in Remember, Mama, 2018. Photo: © Stephen A’Court

The fourth work, Stand to Reason, by South African choreographer Andrea Schermoly, took as reference one of the pamphlets Sheppard had produced in her stalwart campaigning years, projected as text behind the dancers. (That raised laughs among the audience but would have seemed anything but comic 125 years ago). Of the three composers used, the richest and most eloquent dance music of the whole evening was the Folie d’Espagne of Marin Marais, in a recording by Jordi Savall (the highlight performer of Wellington’s Arts Festival earlier this year). That drew a strong response from the cast of eight women, with particularly galvanised and striking performances from Mayu Tanigaito, Madeleine Graham and Kirby Selchow. Despite many standout performances of the program, a following solo by Selchow gave her a true claim to being the dancer of the evening. The work was at its strongest at that point and might well have finished there, in orbit.

Madeleine Graham in 'Stand to Reason'. Royal New Zealand Ballet, 2018. Photo: © Stephen A'Court

 

(left) Madeleine Graham and (right) Kirby Selchow in Stand to Reason. Royal New Zealand Ballet, 2018. Photos: © Stephen A’Court

So overall, this is a program of strong choreographic ventures, a few unusual costume design choices, and effective lighting throughout by Andrew Lees. There’s a mosaic of different music compositions (12 in all across four works) and I know that can pose a distracting challenge for musicians and music-followers who tend to stay away because of that. Most memorably there is stunning dancing from a pedigree company that is half the age of the Suffragettes’ achievements

Jennifer Shennan, 19 August 2018 

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

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

 

Afterthoughts:
The sightlines in the Opera House are quite different from those in the St. James Theatre where the company usually performs, and that needs to be borne in mind for choreographic staging and video projections, both of which were compromised on several occasions. (My two immediate neighbours left at half-time since their view was seriously affected, and the seats were not classed as restricted viewing at the box office). The sound system is also perhaps settling in, and music volumes were at times uncomfortably loud.

This Wellington season of only two performances, and no tour to other centres, has left many dance followers further afield hoping for a future opportunity to see this program. The company website lists “Details Soon” for the Harry Haythorne Choreographic Awards towards the end of the year, now in its fourth year, so they may be planning to attend that season instead. New choreography brings fresh blood, and these stalwart dancers always perform, new work and old, as though lives depended on it. JS

Dancing with Mozart. Royal New Zealand Ballet

31 May 2018, Opera House, Wellington

Reviewed by Jennifer Shennan

Ballet companies anticipate repertoire and book programs in long to mid-term time frames. Perhaps for that reason, the four works in Dancing with Mozart sit somewhat unevenly. The opening Balanchine Divertimento No. 15, and a newly commissioned work were the choices of the current artistic director, whereas the two Kylián works, Petite Mort and Sechs Tänze were chosen by the previous artistic director some time ago.

My guess is that Mozart would have found the Divertimento No. 15 somewhat laboured, with its numerous unmotivated entrances and exits, delivering the patterns that are its only content. I am not against patterns per se, in truth I love them if they are danced with élan and clarity, when they can represent all manner of things. In this work, however, there is little hint of meaningful rapport between dancers, and no development of a relationship to the audience, so zero effect of theatre from this extended piece.

Mayu Tanigaito and Joseph Skelton in Divertimento No. 15. Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court

The use of guest stars who are of varying aesthetic is hard to understand when the company has so many fine dancers, or until very recently did have, within its ranks. Mayu Tanigaito and Alexandre Ferreira save the day in their brief solos when with sparkling nonchalance they mask the effort involved in the demanding virtuosity.

This is the only work on the program played by Orchestra Wellington. Recorded music is used for the two Kylián works, evidently as required by the choreographic contract, but that is not made clear in the marketing of the season and has caused some upset reactions among those who booked to attend expecting live orchestra throughout.

The Corey Baker commission, The Last Dance, is a challenged work—no aspersion on the dancers who give it their best, but its ideas and images seem oddly static. All new choreographic challenge has to take risks and no one can guarantee the outcome, but whoever commissions and whoever choreographs needs to know a company’s strengths and production values as starting points.  A pick-up group of dancers may have been a better choice for this project. It gives me no pleasure to report that it is the least appropriate use of Mozart’s Requiem that I could imagine.

How grateful we are then for some real choreography that claims space and gives dancers the moves they need to show the complexity and ambiguity, the serious, the strong and the playful options available to those of us who want to recognise life celebrated in dance. Both Kylián works, Petite Mort and Sechs Tänze, would have pleased Mozart no end, alive as they are with vitality and madcap, laced with wicked wit and the spin of genius. Every image and every move is deliciously carved and carried, suggestive and sensual, teeming with nuances from the choreographer’s rich train of thought.

Tristan Gross and Massimo Margaria in Sechs Tänze. Royal New Zealand Ballet, 2018. Phot:o:© Stephen A’‘Court

Both these dances, performed by Nederlands Dans Theater, are on YouTube, with Stephan Zeromsky, who has so ably staged the works here, in that cast. The fact that you can watch on Youtube is no reason to stay away from a live performance. But it does give you and me the real and rare chance to study the works in all the depth and detail that repeat viewings allow. Kylián’s personal website also offers much insight into his remarkable career, prolific choreography, and his haunting muse.

I also welcomed several memories that this season triggered—for starters, during Ashley Killar’s term here, probably the definitive Balanchine work ever seen in this country, Agon, exquisitely performed by Ou Lu and Amy Hollingsworth. Pure Balanchine at his best.  

Another treasured memory is Harry Haythorne’s beautiful staging of Balanchine’s Serenade on the New Zealand School of Dance in 1984.  (It is a little known but fascinating fact that Haythorne was the first person to script Serenade into Laban Notation. The original score held in the Dance Notation Bureau in New York carries his signature, H.H., in the bottom corner. Dance history is a mercurial creature).

None of us is likely to forget Kylián’s masterwork Soldatenmis/Soldiers’ Mass, to Martinu’s Mass of the Unknown Soldier, which has been twice so brilliantly staged by RNZB, during Matz Skoog’s and again during Francesco Ventriglia’s directorates. The work throbs with the urgency and pain and horror and courage required in battle. It demands extraordinary stamina. Every male dancer in the company is cast. If one injures there is no recourse but to bring in the strongest female dancer in the company to replace him. In the first season that was Pieter Symonds. I wrote at the time this was the night Joan of Arc came to town—and Pieter has used that epithet in her cv ever since. In the most recent season, another male dancer injured, and Laura Saxon-Jones was brought in to replace him. I wrote then that Joan of Arc had returned to town. Laura’s fine dancing, and her own spunky choreography that we have seen in two of the Harry Haythorne award seasons, are much missed from the company’s ranks.  

Back to 1991 and there was something!—the full-length Wolfgang Amadeus, the life and work of the composer, choreographed by Gray Veredon, combining story, drama, poetry, comedy and heartbreak. RNZB seasons were longer then, spanning two weeks, so we had more chance for repeat viewings. The entire celebratory work was accompanied by live orchestra, and the Requiem sung by live choir, with singers crowded into the boxes to the sides of the stalls and circle levels. Eric Languet danced Wolfgang. Jon Trimmer played his father, Leopold. Who could forget them? Dance history might be mercurial but it is also tidal, and never dies completely.

Jennifer Shennan, 4 June 2018

Featured image: Katherine Minor and Fabio Lo Giudice in Petite Mort. Royal New Zealand Ballet, 2018. Photo: © Stephen A’ ‘Court

 

 

 

Abigail Boyle and Paul Mathews in 'The Piano. The Ballet'. Royal New Zealand Ballet, 2018. Photo: © Stephen A'Court

It never rains, it pours

afterthoughts to Festivals in Wellington, and Auckland…and RNZB The Piano:the ballet

by Jennifer Shennan

Recent worldwide weather events have seen unprecedented extremes in both directions. As we cool down into autumn in New Zealand, we could be mindful of the northern hemisphere’s rite of spring (loads of daffodils apparently, but still cold and wet). We might all be wondering about the proportion of human responsibility for climate change, and what we, each and together, can do about it. So what’s that got to do with dancing? Well, nothing and everything. It’s a global globe that’s turning and we’re all on it.

Recent remarks locally have stated that the New Zealand dance scene is so isolated from the rest of the world. Poppycock, I say, isolation is a state of mind and everywhere is isolated from somewhere. We are entitled to believe that the centre of the world is wherever we are on the day, and that size has nothing to do with it. But it is at the same time true that you sometimes want to see a dance that is not on in your town. What to do about that?

  • Read this website for a review of the recent retrospective of Graeme Murphy’s works by the Australian Ballet. Think about the issues involved in such retros, and follow the Comments with interest. This triggers memories of Murphy’s works for RNZBallet over the years (too few in my estimation). Thought-provoking.
  • Read Joan Acocella’s insightful writings on dance in the New Yorker. Her recent pieces on Arthur Mitchell, Twyla Tharp, Alex Ratmansky give rich commentary on dance in America at its best. Acocella is for me the most lucid dance writer in the English language and I hang on her words. You can catch four articles per month in the New Yorker online, or inherit copies from your kind subscribing friends.
  • Watch Sky Arts television channel’s current broadcast of the 90 minute programme of Patricia Brown’s work. I’d seen photos of her dancers for years but never watched them in motion. Now I have. Intriguing.
  • Be glad of Arts Festivals. Both Wellington and Auckland have just ended their seasons, plus Fringes, with a remarkable range of dance events on offer that have brought us great works, still warm and wet,  from far afield, as well as new local work with much cause to celebrate.  RNZBallet’s The Piano:the ballet  (see review below); English National Ballet’s Giselle (s.r.b.); Crystal Pite’s and Jonathan Young’s Betroffenheit (s.r.b.); Michael Parmenter’s Orpheus; Malia Johnston’s Rushes; and the all time standout for me in Michael Keegan Dolan’s Swan Lake Loch na hEala (already reviewed on this website at this link)

In recent years Auckland has staged a festival in the alternate years to Wellington’s longer-established biennial, and the airlines were happy as folk winged their way north or south. That worked fine. Now however Auckland has made theirs an annual festival, to run concurrently with Wellington’s, and that does not work fine. I was conscious of a number of friends who watched wistfully as I flew to Auckland for English National Ballet’s Giselle. A number of other friends did go north too but, in doing so, missed out on the remarkable Betroffenheit back here in Wellington. I fear that the two festivals going up against each other across the same three weeks (they claim to co-ordinate and share events, but they do not…) will cause over time a weakening of both programs, and confuse the punters. Australia staggers her cities’ festival seasons better than we do, which makes sense, and also keeps the airlines happy.

I had to fly back to Auckland within the same week for the legendary percussion ensemble, From Scratch, headed by Philip Dadson. (I had danced to their Drumwheel in performances at the National Art Gallery in 1979. Now the striking Carol Brown dances to the same work. Interesting contrasts). My daughter was also involved in a collaboration with From Scratch at the breathtaking Te Uru gallery complex in Titirangi, west Auckland, the great Manukau harbour sprawling below the rooftop venue, in the treetops, at sunset … the first site specific performance of the many I have attended that has ever really thrilled me.

Back in Wellington The Flamenco Project, by Isabel Rivera Cuenca from Barcelona, was the Fringe Festival’s triumph, a strong and spirited yet subtly playful offering of the best of southern Spain—with return visits to New Zealand on offer. The fabulous Cuba Dupa street festival, as fringe to the Fringe, just squeezed in before the end of a golden summer. Included was a riveting Javanese wayang kulit shadow puppet show by dhalang Joko Susilo, effortlessly accompanied by the local Gamelan Padhang Moncar. The astonishingly dance-like arm movements of the puppets was a revelation of this dhalang’s expertise.

Withdrawal from Festival mania? Nah, no time for the blues. Within a day a local cinema was screening Royal Ballet’s The Winter’s Tale by Christopher Wheeldon in live telecast. A knockout. The Bernstein Project and Manon are coming hard on its heels. Isolated in New Zealand? If you say so, but I don’t.

———————–

Abigail Boyle and Alexandre Ferreira in 'The Piano, the ballet'. Royal New Zealand Ballet, 2018. Photo : ©Stephen A’Court

Abigail Boyle and Alexandre Ferreira in The Piano: the ballet. Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court

The Royal New Zealand Ballet has just completed the national tour of The Piano: the ballet, which saw seasons in both Wellington and Auckland festivals then to eight? cities nationwide. Following inspiration of Jane Campion’s celebrated film from 1980s, the ballet is choreographed by Jiri Bubenicek, in collaboration with his brother Otto on music and design.

The work was originally commissioned for RNZB by Francesco Ventriglia, and extended into two acts from its beginnings as a one-act for Dortmund Ballet in 2014.

(very interesting to read their online promo of that production. I guess isolation works in a variety of ways)…

Specifically for Ballet Dortmund he [Bubenicek] has arranged his newest creation, inspired by Jane Campion’s Oscar-winning film The Piano. He tells the story of a mute woman living in Australia in the 19th century, at the outpost of civilization. In the midst of brutal plantation owners and disenfranchised aborigines she can only express herself through the piano. Together with the film’s Australian director, Jiří and Otto Bubeníček sought the original setting of the film to find out what art can be for people who find themselves in extreme situations—everything.

RNZB’s was a major project that has attracted nationwide accolades for the production, and rightly praising outstanding performances by Abigail Boyle and Paul Mathews, among others in alternate casts. The role of the child was a fabulous opportunity for a juvenile player, making far more dramatic demands than the usual cute child dancer cast in many a ballet you and I have seen. (see theatreview, for links to a number of reviews of the production).

Abigail Boyle and Hazel Couper in The Piano. The Ballet. Royal New Zealand Ballet, 2018. Photo: © Stephen A'Court

Abigail Boyle and Hazel Couper in The Piano: the ballet. Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court

The mise en scene of New Zealand land and seascapes was impressive, monumental even, yet did not overpower the danced story. The music excerpts were sourced from numerous different works by numerous different composers, and some (well, me anyway) found that problematic, sensing an opportunity missed by the Company not to have commissioned a New Zealand composer to produce a through-composed score  (such as Gareth Farr? John Psathas? There are also other composers who could have managed it, and the cost would not be astronomical alongside the rights to composers, recording companies and performers that must have been required). If that were in place (and it still could be) the work could tour Europe and show the world we’re the best little ballet company on Earth. As it stands the music does not cumulatively and fully support the shift between the picaresque Act One and the emotional depths of Act Two. Some colleagues found a familiar music excerpt distracting when they heard it, wondering  (‘Oh, I know that piece so well … whatever is it?. Oh whoops, he’s fetched an axe … what’s he going to do with it now?’)

The ballet has raised other interesting issues along the way, prominently the depiction of  Maori in the choreography. Even though respected Maori choreographer, Moss Paterson, was brought in to oversee that dimension, a raft of patronising Pakeha nevertheless commented that the performance of haka should not be left to ‘European’ dancers, and that Maori dancers should themselves be included in the cast instead. One could reply that the challenge to professional dancers in the theatre is to portray ‘other’ in almost every role they take. They may not particularly identify with a repressed and violent husband, a reluctant or duplicit lover, or specially feel like a Cupid or Tinkerbell, a sylphide, or Te Rauparaha, but that’s their trade and the best of them do it with aplomb … witness Abigail Boyle, witness Paul Mathews (whose internalised haka of fury upon discovering he had been cuckolded crosses all ethnic divides) and  witness Luke Cooper, Maori dancer in RNZB.

Depiction  of Maori in RNZB repertoire over the years has not happened often. Ihi Frenzy, with Te Matarae I Orehu, back in Matz Skoog’s day as director, was one.

(The real strength of that project was to take company to the marae in Rotorua for an immersion orientation…then to tour both ensembles nationwide. By the end of that tour, RNZB dancers were indistinguishable from Maori at the haka finale). The indelible memory for me however is from Gray Veredon’s Tell me a Tale, (during Harry Haythorne’s directorate) when Warren Douglas played the Maori brother, who warned the Pakeha settler coming ashore that his sister would not be available as a girlfriend, and confirmed that in haka. End of story. We could well see that work again—Jon Trimmer, Kerry-Anne Gilberd and Kim Broad who played the lead roles are all still around and could help Gray Veredon with re-staging. Design by Kristian Fredrikson was one of his best, and the choreography suited our company extremely well.

The choreography of The Piano follows Campion’s film in great and faithful detail, including the spirited caricature of the preacher and local congregation of early settlers. I found it a good idea to watch the film again, in tandem with this ballet—and you couldn’t help but notice that the choreographed portrayal of Maori was immensely more successful than the film’s very peculiar treatment of ‘the natives’ who lay around mostly swathed in blankets and draped in mangrove trees.

Having said that, I also noted that I very much preferred the film’s shape-shifting epilogue to the ballet’s ambiguous ‘ending’. Plays in the theatre have endings. The ballet would be stronger for having one too. Then it could really take Europe by storm. There’s the wero to you.

Jennifer Shennan, 4 April 2018

Featured image: Abigail Boyle and Paul Mathews in The Piano: the ballet. Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court

Abigail Boyle and Paul Mathews in 'The Piano. The Ballet'. Royal New Zealand Ballet, 2018. Photo: © Stephen A'Court

 

Dance diary. Feburary 2018

  • Russell Kerr Lecture

In February I had the pleasure, and honour of presenting the inaugural Russell Kerr Lecture in Ballet and the Related Arts in Wellington, New Zealand. I spoke about the life and career of Wellington-born designer Kristian Fredrikson, of whom New Zealanders are rightly proud (as indeed are we Australians).

The lecture was made possible by a fund, recently established by a group of New Zealanders, to honour Russell Kerr, artistic director of the New Zealand Ballet (as it was initially called before receiving its Royal Charter) from 1962 to 1968. Kerr went on to hold many significant positions in the dance world and to choreograph many works for Royal New Zealand Ballet, including acclaimed productions with designs by Fredrikson of Swan Lake (1996), Peter Pan (1999) and A Christmas Carol (2001). The Russell Kerr Lecture will be offered annually for five years and plans are moving ahead for the 2019 lecture, which will be delivered by Dr Ian Lochhead.

The 2018 lecture was preceded by a performance (courtesy of Royal New Zealand Ballet) of Lark, a short but moving work by Loughlan Prior featuring Sir Jon Trimmer and William Fitzgerald. Both dancers gave an exceptional performance. Live music was provided by Hamish Robb and Beth Chen from the New Zealand School of Music. Here is what Jennifer Shennan wrote about Lark last year on this website:

Lark, choreographed by Loughlan Prior, of Royal New Zealand Ballet, performed by Jon Trimmer and William Fitzgerald, proved a masterwork. There’s little surprise in that since Prior has already earned considerable choreographic kudos. 78 year-old Trimmer’s presence on stage, before he even moves a muscles, reeks with the authenticity of a performer who deeply knows how dance works. Fitzgerald moves with a calm clarity that makes virtuosity seem effortless, and his elevation is something to savour. Suffice to say this piece portraying an older dancer as he sifts memories of dances past, alongside a younger dancer’s questing after the kinds of things that will bring meaning to his future performances, had a poignancy to treasure. (Jennifer Shennan)

See this link for a podcast from Radio New Zealand in which presenter Lynn Freeman and I talked about Fredrikson’s career. Unfortunately I have not yet been able to have the spelling of Fredrikson’s name corrected on the RNZ web page.

  • The Piano, Royal New Zealand Ballet

Royal New Zealand Ballet’s production of The Piano, with choreography by Jiri Bubenicek, opened late in February in Wellington. Stay tuned for Jennifer Shennan’s review.

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in 'The Piano', Royal New Zealand Ballet 2018. Photo: © Stephen A'Court

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in The Piano, Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court. Courtesy Royal New Zealand Ballet

  • Press for February 2018

Critics survey 2017. Dance Australia, February/March 2018, pp. 31–32. See this link for a PDF version of my selections.

Featured image: Follow this link for a PDF copy of the lecture handout.

Michelle Potter, 28 February 2018

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Dance diary. December 2017

  • ‘The best of…’ for 2017

At this time of the year ‘the best of…’ fills our newspapers and magazines. My top picks for what dance audiences were able to see in the ACT over the year were published in The Canberra Times on 27 December. A link is below in ‘Press for December 2017.’ Dance Australia will publish its annual critics’ survey in the February issue. In that survey I was able to look more widely at dance I had seen across Australia.

In addition, I was lucky enough to see some dance in London and Paris. Having spent a large chunk of research time (some years ago now) examining the Merce Cunningham repertoire, especially from the time when Robert Rauschenberg and Jasper Johns were designing for the company, for me it was a highlight of 2017 to see Cunningham’s Walkaround Time performed by the Paris Opera Ballet. And in London I had my first view of Wayne McGregor’s remarkable Woolf Works.

Eric Underwood and Sarah :amb in 'woolf Works', Act II. The Royal Ballet, 2015. Photo: © ROH/Tristam Kenton

Eric Underwood and Sarah Lamb in Woolf Works, Act II. The Royal Ballet. Photo: © 2015 ROH/Tristam Kenton

In Australia in 2017 the absolute standout for me was Bangarra Dance Theatre’s Bennelong and that particular work features, in one way or another, in both my Canberra Times and Dance Australia selections. Of visitors to Australia, nothing could come near the Royal Ballet in McGregor’s Woolf Works during the Royal’s visit to Brisbane. At the time I wrote a follow-up review.

  • Some statistics from this website for 2017

Here are the most-viewed posts for 2017, with a couple of surprises perhaps?

1. Thoughts on Pina Bausch’s Rite of Spring. This was an early post dating back to 2009, the year I started this website. I can only imagine that Rite of Spring has been set as course work at an educational institution somewhere and this has resulted in such interest after close to 9 years?

2. Bryan Lawrence (1936–2017). Obituaries are always of interest to readers, but this one took off like wildfire.

Bryan Lawrence and Marilyn Jones in Giselle. Photo: Walter Stringer

Bryan Lawrence and Marilyn Jones in Giselle, Act I. The Australian Ballet, c. 1966. Photo: Walter Stringer. National Library of Australia

3. Ochres. Bangarra Dance Theatre. This review was posted in 2015 following the restaging of Stephen Page’s seminal work of 1994. It was powerful all those years ago and it is a thrill to see that audiences and readers still want to know about it.

4. New Zealand School of Dance 50th Anniversary Celebration—with Royal New Zealand Ballet. This is a relatively recent post so its position in the year’s top five indicates what a drama has been raging in New Zealand. Its comments are among the best I have had on this site.

5. RAW. A triple bill from Queensland Ballet. It is only recently that I have had many opportunities to see Queensland Ballet. The company goes from strength to strength and its repertoire is so refreshing. I’m happy to see the 2017 program RAW, which included Liam Scarlett’s moving No Man’s Land, on the top five list.

The top five countries, in order, whose inhabitants logged on during 2017 (with leading cities in those countries in brackets) were Australia (Sydney), the United States (Boston), the United Kingdom (London), New Zealand (Wellington), and France (Paris).

  • Some activities for early 2018

In January the Royal Academy of Dance is holding a major conference in Brisbane, Unravelling repertoire. Histories, pedagogies and practices. I will be giving the keynote address and there are many interesting papers being given over the three days of the event. Details at this link.

Then, in February I will be giving the inaugural Russell Kerr Foundation lecture in Wellington, New Zealand, and will speak about the career of New Zealand-born designer Kristian Fredrikson. The event will take place on 11 February at 3 pm in the Adam Concert Room at Victoria University of Wellington’s School of Music. The lecture will follow a performance (courtesy of Royal New Zealand Ballet) of Loughlan Prior’s LARK, created for Sir Jon Trimmer and William Fitzgerald in 2017.

Sir Jon Trimmer and William Fitzgerald in 'Lark' from 'whY Cromozone'. Tempo Dance Festival, 2017. Photo: © Amanda Billing

Sir Jon Trimmer and William Fitzgerald in LARK from whY Cromozone. Tempo Dance Festival, 2017. Photo: © Amanda Billing

  • Press for December 2017

‘History’s drama illuminated by dance.’ Review of dance in the ACT during 2017. The Canberra Times, 27 December 2017, p. 22. Online version

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And a very happy and successful 2018 to all. May it be filled with dancing.

2017 weave, hustle and halt

weave, hustle and halt, Australian Dance Party, 2017. Photo: Michelle Potter

Michelle Potter, 31 December 2017

Featured image: Elma Kris and Beau Dean Riley Smith in Bennelong. Bangarra Dance Theatre, 2017 © Vishal Pandey

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Toa Paranihi and Connore Masseurs in 'S.U.B.'. New Zealand School of Dance, 2017. Photo: © Stephen A'Court

Royal New Zealand Ballet at the crossroads?

The appointment of Patricia Barker as artistic director of Royal New Zealand Ballet has not been without controversy! Jennifer Shennan’s review of the 2017 50th anniversary show from New Zealand School of Dance with Royal New Zealand Ballet, in which she mentioned that no graduates from the School had been accepted into the New Zealand company, sparked a number of very thoughtful comments on this website. Scroll down through this link to read those comments. Discussions offline have been continuing with gusto.

This morning the following article appeared in New Zealand’s Sunday Star Times suggesting that things are moving to a whole new level.

Michelle Potter, 24 December 2017

Featured image: Toa Paranihi and Connor Masseurs in S.U.B. New Zealand School of Dance, 2017. Photo: © Stephen A’Court

Toa Paranihi and Connore Masseurs in 'S.U.B.'. New Zealand School of Dance, 2017. Photo: © Stephen A'Court

 

New Zealand School of Dance 50th anniversary celebration—with Royal New Zealand Ballet

24, 25 November 2017, St James Theatre, Wellington

Reviewed by Jennifer Shennan

This program was a dazzling line-up of works that showcased and celebrated the strengths and talent of young dancers and graduands of New Zealand School of Dance (NZSD). The moment when fledglings leave the nest is always poignant. Some of these young dancers have taken instant wing and are moving straight into positions with prestigious companies—Queensland Ballet, West Australian Ballet for example. Godspeed to them. Most curiously, not one is joining Royal New Zealand Ballet (RNZB).

With numerous dancers departing from RNZB this week, that raises a number of questions, which this review is not placed to answer, but should none-the-less be somewhere, somehow addressed.  Eva Radich in her Radio New Zealand Concert Upbeat program recently asked the question in interview with the company’s artistic director—’Royal New Zealand Ballet. What’s the New Zealand moniker mean?’ We all need to think about the answer. A major part of New Zealand’s dance identity is at stake. That belongs within, not apart from, international dance identity.

In years back, NZSD graduation was always staged in the Opera House, a similar proscenium theatre to the St.James. Some years ago the School moved into newly refurbished premises, Te Whaea, which includes an in-house theatre, which naturally became the venue for dance performances. While that suited some of the contemporary repertoire and choreographic experimentation programs, it is a truth that ballet repertoire had to become differently scaled and proportioned to fit the much smaller venue. Here, back in a proscenium arch theatre with scope and size on their side, all the students were launched into orbit and became dancers. They’ll have now become infected with what Lincoln Kirstein called ‘the red and gold disease’.

It is pleasing to note that of the 11 works on the program, 5 are choreographed by NZSD alumni.

The opening, Beginners, Please! offers a glimpse of two small children at the barre, in a simple sequence of plié to rond-de-jambe; then light moved to another young pair; then to two current NZSD students. Staged by Sue Nicholls, this was a beguiling cameo that evoked the celebrated ballet Etudes, by Harald Lander, 1948. It is poignant to think that Poul Gnatt would have danced in that work in Royal Danish Ballet, and Anne Rowse, director emeritus of NZSD, sitting to my left, danced it many times in Festival Ballet, as also did Russell Kerr. Martin James, single most illustrious graduate in NZSD’s history, no contest, is sitting to my right. He trained at the School, danced most wonderfully in RNZB, then performed in English National Ballet and elsewhere in Europe, eventually to Royal Danish Ballet where he became leading solo dancer, was knighted for his services to ballet, and eventually became the company’s ballet master. These are the seeding sources that cast prismatic variations across professional dance in New Zealand that students need to know about. We can give more than lip service to that. Given the Danish heritage of RNZB, Etudes is a work many of us have waited years to see here, and why wouldn’t Martin James stage it? This echoes the Maori whakatauki proverb, ‘walking backwards into the future’. We can only see what has already happened. Look at that as you go.  All these thoughts were caught in the little opening miniature. Well done, Sue.

Tempo di Valse, arranged by Nadine Tyson, to Tchaikovsky’s Waltz of the Flowers, was ‘an exuberant work for a large ensemble, festive in mood’. Program notes are not always accurate but this one certainly was.

Aria, solo for a masked male, choreographed by Val Caniparoli, to Handel/Rinaldo overture and aria, is a remarkable dance, performed to breathtaking perfection by Mali Comlekci. Small wonder he flies straight into a contract at Queensland Ballet where an outstanding career awaits him. What a shame we won’t be able to see that develop, but we wish him airborne joy.

Mali Comlecki in 'Aria'. New Zealand School of Dance, 2017. Photo: © Stephen A'Court

Mali Comlekci in Aria. New Zealand School of Dance, 2017. Photo: © Stephen A’Court

Curious Alchemy by Loughlan Prior, to Beethoven and Saint-Saens, is a fresh lively lovely dance in which youth is celebrated, and hints of the ties of friendship and the possibilities of relationship are subtly subtexted to the movement which suits the young dancers extremely well. The cast—Clementine Benson, Saul Newport, Jaidyn Cumming and Song Teng —are thrilled to be dancing, and that excitement shines through. Loughlan, himself a spirited dancer with RNZB, and a former graduate of NZSD, is loaded with choreographic energy and ideas, so that is fortunately one continuing career we will be able to follow.

Forgotten Things, by Sarah Foster-Sproull, is a very special choreography, initially developed on students at NZSD in 2015, and here brought to a stunning re-staging with a cast of 23 contemporary dance students. The music composed by Andrew Foster, begins full of life-affirming rhythms that evoke the best Renaissance dance music, then moves to percussive richness that support this mysterious procession—Sarah’s best work to date in my opinion. It is a stunning achievement to use parts of the dancers’ bodies, beautifully lit, as nano units of life force, and then thread these as metaphor into life at the level of society and community. This is a work that could be performed by any school or company, classical or contemporary dancers. Now there’s something for every choreographer to aspire to, since that’s nearer the reality of the dance profession today.

The wedding pas de deux from Don Quixote was danced, by Mayu Tanigaito and Joseph Skelton, as a gift from RNZB—and what a gift. That pas de deux would have been danced in New Zealand several hundred times over the decades, but never has it steamed and sizzled like this. Skelton dances with calm control of his prodigious technique and has a most interesting career we are always keen to follow. The transition from class-in-the-studio to role-on-stage that Tanigaito always brings to her performances is rare, and something to study, if only you can. She reveals the nature of dance.

Kenneth MacMillan’s Concerto pas de deux, dates from 1966 but carries its vintage timelessly. With two grand pianos soixante-neuf on stage, the Shostakovich beautifully played by the School’s pianists, Craig Newsome and Phillip O’Malley, the stage was set for Olivia Moore and Calum Gray to give the performance of their young lives to date.

Olivia Moore and Calum Gray in ‘Concerto’. New Zealand School of Dance, 2017. Photo: © Stephen A’Court

S.U.B. (Salubrious Unified Brotherhood) was a duo by Victoria Columbus working with performers Connor Masseurs and Toa Paranihi. The ‘Nesian identity with rap and break dance, its isolations, its nonchalance, its cut & thrust, its mock battling, was brilliantly timed and caught in this sassy little number.

Toa Paranihi and Connore Masseurs in 'S.U.B.'. New Zealand School of Dance, 2017. Photo: © Stephen A'Court

Toa Paranihi and Connor Masseurs in S.U.B. New Zealand School of Dance, 2017. Photo: © Stephen A’Court

Allegro Brillante, by George Balanchine, dates from 1956 and is more of a period piece. It was performed with great verve and aplomb by the cast of eight dancers.

The Bach, by Michael Parmenter, to a Bach cantata, Erfreut euch, had a cast of 15 dancers who revelled in the exuberant dance sequences and sets of striking ensemble patterns. These were interspersed with walking sequences that stood rhythmically quite apart from the baroque energy and motivation of the danced sections.

The final work, William Forsythe’s In the middle somewhat elevated, was first performed in this theatre by Frankfurt Ballet during the international arts festival 1990. The choreography is as challenging and confrontational now as it was then, as is also the score by Thom Willems. The intensely asymmetrical and aggressive aesthetic comes across as thrilling, or scary, depending on the viewer. I am in the former camp, but can hear what others say—it is either loved or hated. Passionate opinions about dance in a theatre in New Zealand are no bad thing, but it’s for sure that the asymmetries that pull within the classical technique represent a post-modern departure from the canon that Forsythe represents. It’s a pity that the two gilded cherries hanging from on high, giving title to the choreography, are set so high they are noticed by no-one.

The RNZB dancers in the cast who stood out most memorably include Abigail Boyle, Tonia Looker, Alayna Ng,  Shaun James Kelly, Kirby Selchow, Mayu Tanigaito, Kohei Iwamoto, Paul Mathews, Felipe Domingos. We wish all the Company dancers and all the School’s students well.

Jennifer Shennan, 27 November 2017

Featured image: Jill Goh (centre) with dancers from the New Zealand School of Dance in Forgotten Things, 2017. Photo: © Stephen A’Court

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, I was unable to use everything I gleaned from those who were kind enough to talk to me.

Independent dancer/choreographer, Jack Ziesing, is one of three choreographers engaged with this evening length work, which is inspired by Samuel Taylor Coleridge’s Rime of the Ancient Mariner. He spoke to me in some detail about the thoughts behind his section, which was made during a residency early in 2017. It has already been performed in Melbourne and Canberra as a stand alone piece. Looking at some of the production images from those performances I was struck by the the black cloth that seemed to be used throughout his work, and the images of black figures that were posted on the walls of the QL2 studio and that had been used as inspiration.

‘I responded to the figures in black,’ Ziesing remarked, ‘because the black looks like clothing but draped in the right way it could also look like a flag, a weapon, or oil. I liked the idea of a transformable substance that the dancers could use to clothe themselves, protect themselves, and build with. But all the while it’s the very substance that contributes to the degradation of their environment. They are trying to shelter themselves with the very material that hurts them.

‘The tone of this work is definitely very dark. I am concerned for what the future holds and at times it can seem overwhelming and very hopeless. I wanted to convey this same sense of bleakness. Samuel Taylor Coleridge’s poem gave such a strong example of the consequences of thoughtless action. I can’t help but want to do the same in my own medium.’

This Poisoned Sea, section by Jack Ziesing. Photo: © Maylei Hunt, from the Melbourne production, 2017

The other choreographers contributing to This Poisoned Sea are Caudia Alessi and Eliza Sanders. The full, three-section work will be performed at the Playhouse, Canberra Theatre Centre, 27–29 July 2017.

  • News from New Zealand

Early in June, Royal New Zealand Ballet announced the appointment of Patricia Barker as its incoming artistic director. She replaces Francesco Ventriglia, who ended his contract with the company in mid-June. Barker was a principal dancer with Pacific Northwest Ballet during the directorship of Kent Stowell and Francia Russell and, most recently, has been artistic director of Grand Rapids Ballet in Michigan.

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A review by Jennifer Shennan of Neil Ieremia’s As night falls for Black Grace makes interesting listening at this link. ‘A poetic ode to our troubled world’ is how Ieremia describes it, but listen to what Shennan has to say.

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A comment from a New Zealand reader on my recent post about the Royal Ballet’s tour to Australia and New Zealand in 1958 sent me hunting for a photo of Anna Pavlova photographed in Wellington in 1926 by S. P. Andrew. The story goes, according to my correspondent, that Pavlova liked the photograph so much that she ordered 800 copies of it and paid in cash from a large black handbag! It is likely that the photograph below on the left is the one in question, although I rather like the one on the right as well, also taken in 1926 by S. P Andrew.

Anna Pavlova in Wellington, New Zealand, 1926 (1). Photo: S. P. Andrew, Alexander Turnbull Library
Anna Pavlova in Wellington, New Zealand, 1926 (1). Photo: S. P. Andrew, Alexander Turnbull Library

Two portraits of Anna Pavlova in Wellington, New Zealand, 1926. Photo: S. P. Andrew, Alexander Turnbull Library (left image, right image)

  • Rohalla

I was interested to hear that, as part of Refugee Week in the ACT, a dance-theatre work, based on the true story of a refugee from Afghanistan, whose name is Rohallah, was being produced for showing at the Courtyard Studio, Canberra Theatre Centre. I went along to see it.

In my opinion, the work didn’t live up to expectations as a piece of professional dance and, given that Canberra’s several professional dance artists struggle hard to find sources of funding, I was taken aback to find that Rohallah had received support from the ACT government. It is not clear whether that support was financial or not, but apparently the ACT arts minister, Gordon Ramsay, was a first nighter. And indeed the ACT government logo appeared on the handout.

I plead with the ACT arts minister to consider in greater depth what his department is supporting. We are grown-up, seasoned dance-watchers in Canberra. Please support work that treats audiences as such.

  • Press for June 2017

‘Pushing the boundaries of contemporary dance.’ Review of Sydney Dance Company’s Orb. The Canberra Times, 2 June 2017, p. 20. Online version

Michelle Potter, 30 June 2017

Featured image: Scene from Jack Ziesing’s work for This Poisoned Sea. Photo: © Maylei Hunt from the Melbourne production, 2017

Scene from Jack Ziesing's work for 'This Poisoned Sea'. Photo: Bec Thompson

Mayu Tanigaito and Daniel Gaudiello in 'Carmen'. Royal New Zealand Ballet. Photo: © Stephen A’Court

Carmen. Royal New Zealand Ballet

Reviewed by Jennifer Shennan

16 & 18 February 2017, Isaac Theatre Royal, Christchurch (opening of national tour)

The first work on this program, l’Arlésienne, is over 40 years old, and the second, Carmen, is pushing 70 years. Both are dramatic one-act ballets by leading French choreographer, Roland Petit, hitherto only known by reputation here in New Zealand, or through film of his work, which often starred the stunning dancer, Zizi Jeanmaire, his wife.

Francesco Ventriglia, RNZB’s artistic director, was influenced by Petit in his own early career and he has judged well how much these works would suit our company. Unlike ballet’s classics, Swan Lake and the like, which can be staged in new settings (much as we are familiar with Shakespeare in modern dress), these works by Petit are not in the public domain, and need to be re-staged with impeccable care by the trustees of his repertoire.

A number of our dancers find scope for their talents, with personality, stage presence, comoedic gifts and individual character (more than in your average/larger ballet company, where the perfect symmetry of the many is aspired to). We saw talent in spades among the different casts in Christchurch.

In l’Arlésienne, a young man on the eve of marriage to a beguiling young woman is suddenly struck with confusion, and haunted by the vision of ‘the girl from Arles’, whom we never meet, save through the reflection of his eyes. Shaun James Kelly played the lead role with an astonishing portrayal of the onset of his mental disarray. The role of the bride was most poignantly danced by Madeleine Graham. and the corps of villagers dance a compelling semi-ritualised support to the unfolding drama. This then is in no way the frivolous cabaret number I had been expecting to act as curtain-raiser for the main work, Carmen. It is a tight and strong classic work that mesmerises the audience towards the inevitability of its conclusion, and Kelly’s performance will be long remembered.

Shaun James Kelly and Madeleine Graham in L'Arlésienne. Royal New Zealand Ballet. Photo: ©Stephen A'Court

Shaun James Kelly and Madeleine Graham in l’Arlésienne. Royal New Zealand Ballet, 2017. Photo: © Stephen A’Court

The opening cast of Carmen had guest artist Natalya Kusch in the title role, her excellent technique and poetic style proving most attractive, and with Joseph Skelton dancing beautifully as Don José, initially unsuspecting but growing into all the heartbreak of the role. Kirby Selchow as the Bandit Woman lit up the stage, and the cameo comic role of the Toreador was hysterically sent up by Paul Mathews. But it was Mayu Tanigaito, in the following cast, who absolutely nailed the role of Carmen as the minx, the coquette, the sexy wild and headstrong woman who will not be tamed, by any man, at any price. Tanigaito is an astonishing performer in any role, one of the RNZB’s strongest dancers. Daniel Gaudiello was a strong and convincing Don José, and Kohei Iwamoto a striking Chief Bandit.

Mayu Tanigaito in 'Carmen'. Royal New Zealand Ballet. Photo: © Stephen A’Court

Shaun James Kelly in 'l'Arlesienne'. Royal New Zealand Ballet. Photo: Stephen A’Court

(l–r) Mayu Tanigaito in Carmen; Shaun James Kelly in l’Arlésienne. Royal New Zealand Ballet, 2017. Photos: © Stephen A’Court

So, a number of highlights among the members of each cast. My advice is to see them both—but do refrain from the patronising and disruptive outbursts of applause that pepper throughout performances, and drive me to distraction. The dancers know when they’ve done a good multiple pirouette or barrel turn, but this is not the circus. Let them get on with developing the drama or poetry within the work, and please save your applause to the end.

Jennifer Shennan, 24 February 2017

Featured image: Mayu Tanigaito and Daniel Gaudiello in Carmen. Royal New Zealand Ballet, 2017. Photo: © Stephen A’Court

Mayu Tanigaito and Daniel Gaudiello in 'Carmen'. Royal New Zealand Ballet. Photo: © Stephen A’Court

Liz Lea in a study for a forthcoming show, 'RED'. Photo: © Nino Tamburri

Dance diary. November 2016

  • Canberra Critics’ Circle Awards: Dance 2016

The Canberra Critics’ Circle, a group of Canberra-based, practising critics from across art forms, presented its annual awards in November. Two awards were given in the dance area.

Liz Lea: For her innovative promotion of dance in the ACT exemplified by her co-ordination and presentation of “Great Sport!” at the National Museum of Australia, which spectacularly showcased the work of The Gold Company, Dance for Parkinson’s, Canberra Dance Theatre, and of a number of local and interstate choreographers, in a memorable and remarkable presentation.

Alison Plevey: For her tireless and consistent efforts as a dancer, choreographer and facilitator towards advancing professional contemporary dance in the A.C.T through her performances, collaborations, and programs, culminating in the establishment of her dance company, Australian Dance Party.

Alison Plevey (left) in 'Strings Attached', Australian Dance Party 2016.

Alison Plevey (left) in Strings Attached, the inaugural show from Australian Dance Party, 2016. Photo: © Lorna Sim

As indicated in the citations, both Plevey and Lea have contributed to the growth of a renewed interest in dance in Canberra. A preview of Plevey’s forthcoming show, Nervous, is below under ‘Press for November 2016’. My review of Great Sport!, facilitated, directed, and partly choreographed by Lea is at this link.

  • The Nutcracker: Queensland Ballet

A second viewing of Queensland Ballet’s Nutcracker, with a change of cast, had some new highlights. Neneka Yoshida was a gorgeous Clara. She was beautifully animated and involved throughout and there were some charming asides from her with other characters during those moments when she wasn’t the centre of attention. Mia Heathcote took on the role of Grandmother, a role that couldn’t be further from her opening night role as Clara. But she created a very believable character and, as we have come to expect, never wavered from her characterisation. Tim Neff was a totally outrageous Mother Ginger and Lina Kim and Rian Thompson gave us a thrilling performance as the leading couple in the Waltz of the Flowers.

Another exceptional performance from Queensland Ballet.

  • Ella. A film by Douglas Watkins

Ella, which premiered earlier in 2016 at the Melbourne International Film Festival, traces the journey of Ella Havelka from a childhood spent dancing in Dubbo, New South Wales, to her current position as a corps be ballet member of the Australian Ballet. My strongest recollection of Havelka with the Australian Ballet is her dancing with Rohan Furnell as the leading Hungarian couple in Graeme Murphy’s Swan Lake when I called their performance ‘very feisty’.

Scene from the film 'Ella'

Scene from the film Ella, 2016

I found the film largely unchallenging, however, and footage of Havelka dancing with Bangarra Dance Theatre was far more exciting to watch than that showing her with the Australian Ballet. Not only that, the commentary from Stephen Page on the nature of Bangarra, and Havelka’s role as an Indigenous Australian in that company, was far more pertinent and gutsy than the rather non-committal remarks from interviewees from the Australian Ballet. An opportunity missed from several points of view?

  • Royal New Zealand Ballet

Royal New Zealand Ballet is seeking a new artistic director to replace Francesco Ventriglia who will leave his position in mid-2017. Ventriglia will depart ‘to pursue international opportunities.’ Before he departs New Zealand he will take on the new role of guest choreographer to stage his own production of Romeo and Juliet in August. His planned repertoire for 2017 includes works by Roland Petit and Alexander Ekman.

  • Late news: Ruth Osborne

Ruth Osborne, artistic director of QL2 Dance in Canberra, has been awarded a Churchill Fellowship to pursue her interest in developing dance projects for young people. More in a future post.

  • Press for November 2016

‘Wonderful version of Christmas classic.’ Review of The Nutcracker from Queensland Ballet. The Canberra Times, 25 November 2016, p. 37.  Online version.

‘Under the microscope.’ Preview of Nervous from Australian Dance Party. The Canberra TimesPanorama, 26 November 2016, p. 15. Online version.

Michelle Potter, 30 November 2016

Featured image: Liz Lea in a study for a forthcoming show, RED. Photo: © Nino Tamburri, 2016

Liz Lea in a study for a forthcoming show, 'RED'.