17 May 2019. Lyric Theatre, Queensland Performing Arts Centre, Brisbane One of the strongest aspects of Queensland Ballet’s programming at the moment is Li Cunxin’s masterful ability to curate an engrossing triple bill. This is no easy task, but it is something that has characterised the work of the best companies across the decades. The Masters Series, the current Queensland
5 May 2019, Palais Garner, Paris This short and sparse triple bill, consisting of two works from the team of Sol León and Paul Lightfoot, along with a single work from Dutch master Hans van Manen, showed more than anything the extreme physicality of the dancers of the Paris Opera Ballet. The men in particular displayed a muscularity that was
4 May 2019 (matinee). Royal Opera House, Covent Garden, London It is always exceptional to see a work by a choreographer who is not the familiar one from one’s previous experiences of that work. Having seen John Cranko’s production of Romeo and Juliet countless times, as performed by the Australian Ballet, along with several versions by other choreographers, the Royal
1 May 2019. Opera House, WellingtonReviewed by Jennifer Shennan New Zealand Dance Company’s Kiss the Sky is a highly energised and energising program of three works that appealed to an enthusiastic audience. Production values are always strong with this company, and the six dancers are all smart, sharp, sophisticated and cleanly co-ordinated movers who share singular commitment. While the three
Mirramu turns 30 When Elizabeth Dalman’s reign as founding artistic director of Australian Dance Theatre came dramatically to an end in 1975, she went to Italy where she spent the next decade. Not long after her return to Australia she moved to a new home on a property on Lake George, close to Canberra. There she created Mirramu Creative Arts
20 April 2019. Teatro alla Scala, Milan Sitting in the so-called ‘first balcony’ of Teatro alla Scala in Milan gave me a view of Wayne McGregor’s Woolf Works that I have never had before. In I now, I then, the first act based on Virginia Woolf’s Mrs Dalloway, I saw more clearly the structural elements of the set, the darkness
Below is the text of an article I was commissioned to write about the Canberra season of Sydney Dance Company’s first program for 2019, Bonachela/Nankivell/Lane. It was meant also to include a note on the company’s 50 year history. Sadly and disappointingly, a truncated version, with no images, appeared in The Canberra Times. It was not what I was led
13 April 2019 (matinee) Joan Sutherland Theatre, Sydney Opera House I saw this program, a contemporary triple bill with works by Stephen Baynes, Alice Topp and Tim Harbour, last year, 2018, in Melbourne. My review is at this link. This time my thoughts remain basically the same. I liked or disliked each of the works for the same reasons as
27 March 2019. Roslyn Packer Theatre, Walsh Bay (Sydney) It is 50 years since Sydney Dance Company (under a different name or two in its early years) gave its first performance. The time had come to commemorate the company’s remarkable longevity, and its absolute commitment to contemporary dance. Rafael Bonachela’s first season for this anniversary year celebrated with a triple
I’ve never done anything else but dance … * Jonathan Taylor, dancer, choreographer and artistic director of Australian Dance Theatre from 1976 to 1985, has died in Melbourne at the age of 77. Taylor was born in Manchester, England, where he began tap and ballet lessons as a very young boy. As a teenager he was taught in London by