4 October 2024. Playhouse, Queensland Performing Arts Centre, Brisbane My review of the Queensland Ballet presentation of Annabelle Lopez Ochoa’s Coco Chanel: the Life of a Fashion Icon was published in Limelight on 6 October. Read the Limelight review at this link. Below is a slightly enlarged version of that review. ************************************* Coco Chanel: the Life of a Fashion Icon,
In September the Australian Ballet announced its 2025 season and, amazingly, the season includes a visit to Canberra. The company has largely avoided the national capital for years now with various reasons given, none of which ever mentions a major, contentious situation that developed relating to orchestral involvement. That aside, it is also amazing that the company is bringing to
22 September 2024. Palace Electric Cinema, Canberra Kenneth MacMillan’s Manon, which premiered in 1974, has never been my favourite ballet. It has always seemed to be too long and to have a surplus of main characters that have often been hard to distinguish from each other. But I nevertheless went to see the film called L’Histoire de Manon as danced
Below is an enlarged version of my review of Twofold published online by Canberra’s CityNews on 19 September 2024. The CityNews review is at this link. 18 September 2024. Roslyn Packer Theatre, Sydney Sydney Dance Company’s Twofold began by giving the audience a second look at Rafael Bonachela’s work, Impermanence. Bonachela, artistic director of Sydney Dance Company for more than
Dancer Rowena Jackson has died at the age of 98 in her home on the Gold Coast, Queensland. Jackson had an exceptional career with London’s Royal Ballet before returning to New Zealand, where she was born and where she and her husband, Philip Chatfield (1927-2021), became involved with a variety of dance activities. In 1993 Jackson and Chatfield moved to
I am thrilled to publish, on behalf of former student of Xenia Borovansky, Elizabeth Kennedy, this tribute to Joy Dalgliesh (1936-2024). As a result of her long friendship with Joy Dalgliesh, Elizabeth is able to reveal to us an image of Madame (as Xenia Borovansky was known to her students and others) that is quite different from what has been
23 August 2024. The Playhouse, Canberra Theatre Centre Below is a slightly enlarged version of my review of Jurrungu Ngan-Ga [Straight Talk] published online by Canberra’s CityNews on 24 August 2024. The CityNews review is at this link. I have always thought of Marrugeku as a dance company with a strong focus on Indigenous issues. But Jurrungu Ngan-Ga, staged recently
17 August 2024. Llewellyn Hall, Canberra Below is a slightly enlarged version of my review of Silence & Rapture published online by Canberra’s CityNews on 18 August 2024. The CityNews review is at this link. The Australian Chamber Orchestra (ACO) has an admirable history of staging productions with dance companies in which both musicians and dancers perform onstage, with artists
1 August 2024. St James Theatre, Wellington Below is a slightly enlarged version of my review of Solace published online by Dance Australia on 5 August 2024. The Dance Australia review is at this link. Solace, the recent triple bill from Royal New Zealand Ballet (RNZB), offered audiences a thought-provoking look at the approach of contemporary choreographers who work with
As August approaches I am looking forward to a number of dance performances beginning in Wellington with Royal New Zealand Ballet’s triple bill program Solace. Solace opens on 1 August and consists of Wayne McGregor’s Infra and two new works, To Hold by Sarah Foster-Sproull and High Tide by Alice Topp. Infra was seen in Australia in 2017 when it