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.

Emma Grill and Cooper Terry in 'Like a Salmon in the Sahara', PPY2016

‘PPY16 revealed’. Sydney Dance Company

8 December 2016, Carriageworks, Eveleigh (Sydney)

Sydney Dance Company’s initiative, its now annual Pre-Professional Year (the title of the show PPY16 Revealed refers to this year’s venture), is a significant one for the future of the dance industry. And one of the most interesting aspects of the venture for audiences can be found in the comments on the course made by the graduates and printed in the program. Almost all of those who were part of the initiative spoke of their personal growth during the year: ‘A year of intense introspection and self-inquiry’;  ‘This course has been a great platform for me to grow as a person’; ‘The Pre-Professional Year course has thankfully changed my mindset regarding my life and myself’; and, as one smart young person asked, ‘Why was I not exposed to this learning earlier?’ Why indeed?  This ‘dancing for life’ learning may not yet be apparent in the way these dancers perform, but I am sure it will eventually become evident in their work, whatever that may be.

But to the show itself. The technical strength of the dancers was most clearly shown in the closing section, an excerpt from Rafael Bonachela’s 2 One Another, and every dancer responded beautifully. What struck me most was the strength with which the dancers embraced the minutiae of Bonachela’s choreography. Every tiny detail of the choreography was very clear and I was interested to see the assertive, but positive nature of the way they handled those moments when one dancer touched another.

Aidan Daley and Hayley Kelly in Rafael Bonachela's '2 one another', PPY16 revealed. Gez Xavier Mansfield Photography

Aidan Daley and Hayley Kelly in Rafael Bonachela’s ‘2 one another’, PPY16. © Gez Xavier Mansfield Photography

Of the other works, made especially for PPY16, Narelle Benjamin’s Pieces of Cella, a duet for two female dancers, showed some lovely unison movement, some of which I thought recalled yoga poses, but finished with the two dancers almost becoming one as two bodies melded and merged.

Perhaps the standout work for me, though, was Zachary Lopez’s Like a Salmon in the Sahara in which thirteen dancers, dressed in individualistic, all-white outfits, engaged in some fast dancing. I enjoyed Lopez’s ability to group and regroup his dancers, and his broad approach to the use of space—even the running in circles worked nicely. And bouquets to the ‘runner’, the fourteenth dancer who spent the entire time jogging on the spot!

Thomas Bradley’s corporare might have been interesting—if I had been able to see the movement amid the very dark, very gloomy lighting. Pacific from Kristina Chan began nicely with two rows of dancing rising and falling, suggesting the ebb and flow of waves breaking on the shore. But it lost a little of its effect for me as it proceeded, when dancers and sea seemed to become one with each other.

And on second thoughts, perhaps the personal growth of which these emerging dancers spoke in their program notes is already obvious. The variations in body shape and height, and in technical capacity among the dancers were clear, but the focus and determination of each and every one of them was startling.

Michelle Potter, 10 December 2016

Featured image: Emma Grill and Cooper Terry in ‘Like a Salmon in the Sahara’, PPY16 revealed.  © Gez Xavier Mansfield Photography

Emma Grill and Cooper Terry in 'Like a Salmon in the Sahara', PPY2016

Scene from 'Anima', Sydney Dance Company, 2016. Photo: ©Pedro Greig

‘Untamed’. Sydney Dance Company

My review of Sydney Dance Company’s Untamed, a double bill consisting of Gabrielle Nankivell’s Wildebeest and Rafael Bonachela’s Anima, is now available on DanceTabs at this link.

Those who were lucky enough to see this show on opening night were, I feel sure, taken by the colourful T-shirt worn by Bonachela as he took a curtain call with his collaborators. The message on it read: Say ‘I do’ Down Under.

Michelle Potter, 23 October 2016

Featured image: Scene from Anima, Sydney Dance Company, 2016. Photo: © Pedro Greig

 Scene from 'Anima', Sydney Dance Company, 2016. Photo: Pedro Greig

Dance diary. April 2016

  • 10,000 Miles: Quantum Leap and YDance

17 April 2016, the Q, Performing Arts Centre, Queanbeyan

In April Canberra’s youth dance company, Quantum Leap, and YDance, the National Youth Dance Company of Scotland based in Glasgow, joined forces for a once-only performance of a triple bill, 10,000 Miles. The performance was part of a wider program, ‘meetup’, involving youth dance companies from Melbourne and various parts of New South Wales, as well as Quantum Leap and YDance. For 10,000 Miles the three works on show were Act of Contact by Sara Black showcasing the Canberra dancers; Maelstrom by Anna Kenrick, artistic director of the Scottish company, which was performed by the Scottish dancers; and Landing Patterns, a piece choreographed jointly by Kenrick and Ruth Osborne, artistic director of Quantum Leap, featuring dancers from both companies.

Act of Contact, QL2, 2016 Photo: Lorna Sim

Sara Black’s Act of Contact. Quantum Leap, 2016. Photo: © Lorna Sim

Anna Kenrick's 'Maelstrom'. NYDCS, 2016. Photo: Lorna Sim

Anna Kenrick’s Maelstrom. YDance, 2016. Photo: © Lorna Sim

It was an impressive show and a terrific piece of cultural contact. Apart from the strong dancing from both companies, I admired the lighting of Maelstrom, a very effective design of geometric patterns from Simon Gane.

  • Greg Horsman

In April I had the pleasure of interviewing Greg Horsman, ballet master and director of artistic operations at Queensland Ballet, for the National Library of Australia’s oral history program. The interview is open to all and has been catalogued as TRC 6774. Ongoing Federal Government cutbacks make it unlikely, however, that it will go online for a little while yet. But it can be accessed by contacting the oral history and folklore section of NLA. The NLA also holds a small but excellent collection of photographs of Horsman during his time with the Australian Ballet, taken by Don McMurdo.

  • Robert Helpmann: forthcoming talk

Dance Week 2016 will be in full swing when this post goes live. I will be giving a talk at the National Film and Sound Archive as part of the ACT festivities. Called ‘Helpmann uncovered’ it will look at the research I have been doing over the past year or so on certain little known aspects of Helpmann’s activities. Further details at this link.

Robert Helpmann,1965. Photo: Walter Stringer

Robert Helpmann, 1965. Photo: Walter Stringer. National Library of Australia

  • William Yang

During April I went to see William Yang’s Blood Links, a solo show in which Yang, well-known photographer, delivered a monologue, accompanied by projections showing his extended family, in a moving search to understand his Chinese-Australian identity. While his dance photographs did not appear in this show (understandably), I was reminded of the work he did with Jim Sharman for the Adelaide Festival in 1982 when he photographed Pina Bausch. I recall with pleasure the small exhibition of this work that was displayed as part of Sydney’s now defunct festival, Spring Dance, in 2011. I also found a YouTube link in which Yang discusses his work with Bausch and that beautiful exhibition.

  • Press for April

‘Dance work challenges the senses.’ Review of FACES by James Batchelor and collaborators. The Canberra Times, 9 April 2016, p. ARTS 17. Online version.

‘Prickly attitude.’Preview of Sydney Dance Company’s CounterMove season. The Canberra Times—Panorama, 30 April 2016, pp. 8–9. Online version.

Michelle Potter, 30 April 2016

Featured image: Greg Horsman, Ballet Master and Director of Artistic Operations Queensland Ballet

‘CounterMove’. Sydney Dance Company

29 February 2016, Rosyln Packer Theatre, Sydney

My review of Sydney Dance Company’s double bill CounterMove, comprising Alexander Ekman’s Cacti and Rafael Bonachela’s Lux Tenebris, has been published on DanceTabs at this link.

Sydney Dance Company in 'Cacti'. Photo: Peter Greig

Sydney Dance Company in Cacti, 2016. Photo: © Peter Greig

Cacti is making its second appearance in Australia. It was first seen as part of Sydney Dance Company’s De Novo season in 2013. This year, however, it will be seen in many more venues. Following the Sydney showing, which concludes on 12 March, Cacti will be seen in the following cities/venues, along with Lux Tenebris, as part of the CounterMove season:

Canberra Theatre Centre, 19–21 May
Southbank Theatre, Melbourne, 25 May–4 June

Regional tour 17 June to 27 August
New South Wales
Wollongong, 17–18 June
Orange, 22 June
Newcastle, 25 June
Port Macquarie, 29 June

Queensland
Rockhampton, 2 July
Gladstone, 6 July
Cairns, 9–10 July
Gold Coast, 15–16 July

Northern Territory
Darwin, 29 July

Western Australia
Geraldton, 3 August
Mandurah, 6 August
Albany, 9 August
Bunbury, 13 August

New South Wales
Bathurst, 20 August
Griffith, 24 August
Dubbo, 27 August

Later in the year Lux Tenebris will be set on the Dresden Frankfurt Dance Company, ahead of a premiere European season in September.

Michelle Potter, 4 March 2016

Featured image: (l-r) Nelson Earl, Holly Doyle, Fiona Jopp and David Mack in Lux Tenebris, Sydney Dance Company, 2016. Photo: © Peter Greig

Dance diary. January 2016

  • Indigenous dance programs in Canberra

The National Film and Sound Archive’s first Black Chat program for 2016 will take place at the Archive on 12 February at 6 pm and will feature dancer Tammi Gissell talking with curator Brenda Gifford on the topic ‘Indigenous identity through dance’. Gissell made a terrific impact in Canberra during the city’s centennial year, 2013, and her presence at Black Chat is enough to make the program more than worthwhile. But, in addition, the Archive is screening three films from its Film Australia Collection, Aeroplane Dance, 7 Colours, and Aboriginal Dances (five from Cape York and three performed by David Gulpilil).

Tammi Gissell 2012. Dance diary August. Photo Lorna Sim

Tammi Gissell rehearsing Seeking Biloela, Canberra c. 2013. Photo: © Lorna Sim

All three have features that I am sure will make interesting viewing but I was fascinated to read about Aeroplane Dance, both in a book (Savage Wilderness by Barry Ralph) giving a totally white perspective on the crash of an American bomber that generated the creation of the dance by a local Yanyuwa man, Frank Karrijiji, and in an online article with a wider, more balanced account. Read about the Black Chat session at this link.

Then in March the National Film and Sound Archive will host a season of Stephen Page’s Spear. This film, which had a world premiere in Canada at the Toronto Film Festival in September 2015, and an Australian premiere in Adelaide the following month, marks Page’s debut as director of a feature film. The Canberra season begins on 10 March and an 8 pm session on 12 March will include a Q & A session with Page and other members of the cast and crew. More later.

Filming 'Spear', 2015. Photo: Jacob Nash

Filming Spear, 2015. Photo: © Jacob Nash

  • Miscellaneous activities

The sole dance performance I saw during January was the Australian Ballet’s Sleeping Beauty for children—review below. My four grandchildren (aged from 8 to 5) all went (one went twice) and all loved it, even one 8 year old grandson who later confided to me that he really didn’t want to go but had, to his surprise, really liked it. So congratulations to the Australian Ballet for nurturing future audiences with this delightful pantomime-style show.

On another performance front, I made an abortive attempt to get to Sydney to see Marrugeku’s latest show Cut the Sky, but my plane from Canberra was involved in a bird strike and, sadly, I had no option but to cancel.

Other January activities hold future promise. I interviewed choreographer Alexander Ekman, who was in Sydney rehearsing Cacti with Sydney Dance Company for their CounterMove season beginning at the end of February. Our conversation will feed into a future feature for The Canberra Times.

Sydney Dance Company presents Alexander Ekman's Cacti. web Photo by Peter Greig

Dancers of Sydney Dance Company in Alexander Ekman’s Cacti. Photo: © Peter Greig

And I also spent several days in Melbourne with two archivists from the National Library sorting and boxing Dame Margaret Scott’s extensive collection of photographs, board papers, correspondence and other paper-based items for eventual transfer to Canberra.

  • Site news

Follow this link for a fascinating series of comments on an early post on James Upshaw and Lydia Kuprina.

  • Press for January

‘Delightful Tchaikovsky for children.’ Review of the Australian Ballet’s Storytime Ballet: The Sleeping Beauty. The Canberra Times, 22 January 2016, ‘Times 2’, ARTS p. 6. Online version.

Janessa Dufty in Daniel Riley's 'Reign', Sydney Dance Company 2015. Photo: Peter Greig

‘New Breed’ (2015). Sydney Dance Company

8 December 2015, Carriageworks, Eveleigh (Sydney)

My review of New Breed, a program of new works from Kristina Chan, Fiona Jopp, Bernhard Knauer, and Daniel Riley, is now available on DanceTabs. I continue to ponder Riley’s work, Reign, as there is no reason why an Indigenous-style vocabulary shouldn’t be used for any theme. Perhaps, too, I am wrong to assume the theme is strongly Western. But, I still wonder…

Follow this link to the DanceTabs review.

Featured image: Janessa Dufty in Daniel Riley’s Reign. Sydney Dance Company 2015. Photo: © Peter Greig

Janessa Dufty in Daniel Riley's 'Reign', Sydney Dance Company 2015. Photo: Peter Greig

Michelle Potter, 13 December 2015

Jesse Scales and David Mack in 'Variation 10'. Sydney Dance Company, 2015. Photo: Peter Grieg

‘Triptych’. Sydney Dance Company

10 October 2015 (matinee), Roslyn Packer Theatre, Sydney

Sydney Dance Company’s latest offering, Triptych, pays homage to English composer Benjamin Britten, whose compositions, Simple Symphony, Les Illuminations and Variations on a Theme of Frank Bridge, are at the musical heart of the program. All three works have choreography by artistic director Rafael Bonachela, and the dancers are joined onstage by singer Katie Noonan in Les Illuminations, and throughout the program by musicians of ACO2, the Australian Chamber Orchestra’s string ensemble.

Simple Symphony looks a lot different on the stage of the Roslyn Packer Theatre. In its earlier outing in 2013, at the Studio Theatre at the Sydney Opera House, it was performed on a T-shaped catwalk with the dancers using the whole of a fairly narrow, if long, T-space, and with players from the Sydney Symphony Orchestra providing the accompaniment from a position at the cross bar of the T. This time the musicians sat on a dais at the back of the stage, a ploy successfully used by Bonachela in his exceptional creation, also made in 2013, Project Rameau. In addition, the dancers had a relatively large, rectangular space in which to perform and, all in all, the work was easier to see and to my mind, therefore, more interesting choreographically.

In the 2013 production of Simple Symphony I noticed Bonachela’s use of lifts in particular. This time, although I was still taken by the lifts, I was entranced by the moves in which the female dancers were swept up into the arms of their partner and dipped and swirled melodiously around, and by the beautifully playful endings to the first two sections, which brought gentle laughter from the audience. Nevertheless, ‘Sentimental Sarabande’, the third section, remained my favourite. It was sensuously performed, a lovely duet.

Bernhard Knauer and Janessa Dufty in 'Simple Symphony', 2015. Photo: Peter Grieg
Bernhard Knauer and Janessa Dufty in Simple Symphony. Sydney Dance Company, 2015. Photo: © Peter Grieg

Simple Symphony is perhaps Bonachela’s most balletic looking piece, and is light and joyous. In contrast, Les Illuminations, with its background of 19th century French Symbolism via the poetry of Arthur Rimbaud, has a more moody quality. Its opening scene shows the four cast members, two men and two women, standing in pools of dark light, looking like mysterious figures from a Symbolist painting. As with Simple Symphony, Les Illuminations was easier to enjoy in a more regular space and Katie Noonan’s rendition of Britten’s songs resonated beautifully throughout the theatre.

Cass Mortimer Eipper and Charmene Yap in 'Les Illuminations' . Sydney Dance Company 2015. Photo: Peter Grieg
Cass Mortimer Eipper and Charmene Yap in Les Illuminations. Sydney Dance Company, 2015. Photo: © Peter Grieg

The most exquisite of the duets that comprise the choreography for Les Illuminations was, for me, the final one, ‘Le départ’, between the two male cast members, Richard Cilli and Cass Mortimer Eipper. It was tender, sensual, and filled with moving moments such as those where palms touched and then arms were pushed upward. The final sculptural pose was an emotional ending.

Bonachela’s new creation for this season, Variation 10, was danced to Britten’s Variations on a Theme of Frank Bridge. In particular it showed Bonachela’s skills in group work as opposed to the duet structure that characterised Simple Symphony and Les Illuminations. I especially enjoyed a quintet for five ladies and as usual was staggered at how beautifully they moved individually and as a group.

There is nothing like the passion for movement that Sydney Dance Company has, nor the choreographic passion that characterises Bonachela’s work.

Michelle Potter, 11 October 2015

Featured image: Jesse Scales and David Mack in Variation 10. Sydney Dance Company, 2015. Photo: © Peter Grieg

Jesse Scales and David Mack in 'Variation 10'. Sydney Dance Company, 2015. Photo: Peter Grieg

Dance diary. August 2015

  • New Breed: Sydney Dance Company

Early in August Sydney Dance Company announced the four recipients of commissions to create works for the company’s New Breed initiative. Kristina Chan, Fiona Jopp, Bernhard Knauer and Daniel Riley will present their dances at Carriageworks in a season running from 8 to 13 December. Commissions have also gone to independent designers Matt Marshall and Aleisa Jelbart, and musician/composers Nick Thayer, James Brown, Jürgen Knauer, Toby Merz and Alicia Merz, who will contribute to the creation of the works, which will be performed by artists from Sydney Dance Company.

The four New Breed 2015 choreographers . Photo: Peter Greig

The four ‘New Breed’ choreographers for 2015 (l-r: Fiona Jopp, Kristina Chan, Daniel Riley and Bernhard Knauer). Photo: Peter Greig

Performance details at this link.

  •  Don Quixote: the film

During my recent foray into the career of Lucette Aldous, as a result of Sue Healey’s short film on Aldous, I came across the photograph below.

Lucette Aldous and Robert Helpmann in rehearsal for the film, 'Don Quixote', the Australian Ballet 1972. Photo: Don Edwards

Lucette Aldous and Robert Helpmann in rehearsal for the film, Don Quixote, the Australian Ballet 1972. Photo: Don Edwards. Courtesy National Library of Australia

I had always understood that it was very hot in those Essendon hangars where the Don Quixote production was filmed. From this image it appears that perhaps it was quite cold at times!

  • Harry Haythorne choreographic awards

The Royal New Zealand Ballet and the Ballet Foundation of New Zealand have announced two new choreographic awards to honour Harry Haythorne, artistic director of Royal New Zealand Ballet from 1981 to 1992. There will be two studio showings of new works choreographed by company dancers who will be in the running for two awards, one to be decided by a panel headed by present artistic director Francesco Ventriglia, and the other a People’s Choice award funded by money raised at the memorial event for Haythorne held in January. Dates for the showings are 12 and 13 September in the Royal New Zealand ballet studios, Wellington.

  • Press for August

‘Moving tribute to those who served.’ Review of Reckless Valour, QL2 Dance, The Canberra Times, 1 August 2015, p. 16. Online version.

‘Dalman and Jones going into dance Hall of Fame.’ Feature on the 2015 Australian Dance awards, The Canberra Times, 27 August 2015, ‘Times 2’, p. 6. Online version.

Michelle Potter, 31 August 2015

Dance diary. July 2015

  • 2015 Helpmann Awards

Media commentary following the announcement of the winners of the 2015 Helpmann Awards has mostly focused on the fact that Les Miserables ‘scooped the pool’ with five awards. Well many congratulations to those involved, but where is the equivalent media commentary for Sydney Dance Company? Sydney Dance could also be said to have ‘scooped the pool’ after receiving all four awards in the dance section.

  • Best Ballet or Dance Work: Sydney Dance Company’s Frame of Mind
  • Best Choreography in a Dance or Physical Theatre Work: Rafael Bonachela, Frame of Mind
  • Best Male Dancer in a Dance or Physical Theatre Work: Cass Mortimer Eipper, Quintett
  • Best Female Dancer in a Dance or Physical Theatre Work: Chloe Leong, Quintett

Sydney Dance Company's Frame of Mind featuring Cass Mortimer Eipper, 2015. Photo: © Peter Greig

Sydney Dance Company’s Frame of Mind featuring Cass Mortimer Eipper, 2015. Photo: © Peter Greig

What a shame that there has been so little publicity by mainstream media for this exceptional feat by Sydney Dance Company.

  • Stephen Page at Parliament House

Early in July I had the pleasure of facilitating a conversation with Stephen Page, artistic director of Bangarra Dance Theatre, as part of a program organised by Parliament House in conjunction with the Canberra Theatre Centre. The conversation took place in the Parliament House Theatre, which I did’t know existed until I was invited to be part of this session. The conversation preceded the arrival of Bangarra in Canberra with its latest show, lore. Page gave a highly entertaining talk about the origins of Bangarra, his nurturing of artists in the company, and some background on the works in lore. The talk was recorded and I understood that it was to be posted on the PH website. So far this has not happened but when/if it does I intend to post a link on this site.

  • David Sumray

I was contacted in July by a journalist from the Camden New Journal, who asked me about David Sumray. She told me that she had heard that an ‘avid ballet historian’ of that name had died suddenly and she wanted to write something about him. I have not been able to confirm this news so I hesitate to mention it here. However, since my attempts to contact David have been unsuccessful (and the journalist has not contacted me again despite a request), I will mention my admiration and respect for him anyway.

David has been a constant visitor to this website and has made many comments on articles and reviews posted here, which have always been illuminating. In addition, he was extraordinarily helpful and generous while I was writing Dame Maggie Scott. He volunteered to check a few facts for me, mostly relating to the life of Maggie’s father, John Scott, and his war record. In so doing he uncovered other interesting facts including material relating to John Scott’s schooling in England. I remember too, as we were discussing John Scott’s engagement to Maggie’s mother, Marjorie, in Birmingham in 1918, he sent me an Edwardian postcard image of the shop where the ring was bought. I have so enjoyed his interest in such details.

H. Greaves Ltd - Postcard of Corporation St.

H. Greaves Ltd, Birmingham

  • Press for July

‘Traditions explored through dance.’ Preview of Bangarra Dance Theatre’s lore. ‘Panorama’, The Canberra Times, 4 July 2015, pp. 6–7. Online version.

‘Gala celebrates troupe’s 50 years.’ Preview of Mirramu Dance Comany’s L. ‘Times 2’, The Canberra Times, 9 July 2015, pp. 6–7. Online version.

‘Some strong performances in a well staged show.’ Review of Circus under my bed, Flying Fruit Fly Circus. The Canberra Times, 18 July 2015, ARTS p. 18. Online version.

Michelle Potter, 31 July 2015