Kirby Selchow as Gretel in 'Hansel and Gretel', Royal New Zealand Ballet, 2019. Photo: © Stephen A’Court

Hansel & Gretel. Royal New Zealand Ballet & Orchestra Wellington

6 November 2019. Opera House, Wellingtonreviewed by Jennifer Shennan Hansel & Gretel is choreographer Loughlan Prior’s first full-length ballet, though he has a number of accomplished short works (including a memorable Lark, for Sir Jon Trimmer and William Fitzgerald), as well as choreographed films (including Memory House, for Trimmer) already to his credit. Since this premiere, another of his works, The

Scene from Loughlan Prior's 'The appearance of colour.' Bespoke, Queensland Ballet, 2019. Photo: © David Kelly

Bespoke 2019. Queensland Ballet

9 November 2019. Brisbane Powerhouse Bespoke is the generic name given to an initiative started by Queensland Ballet a few years ago to encourage new choreography. This year, which is the first year I have managed to catch the show, the selected choreographers were Lucy Guerin, Amy Hollingsworth and Loughlan Prior. Briefly, Guerin is a well-established artist working out of

Meeting Karpovsky. Willow Productions

6–16 November 2019, Circa Theatre, Wellington Meeting Karpovsky was created by Helen Moulder, Sue Rider and Sir Jon Trimmer, and was performed by Helen Moulder and Sir Jon Trimmer reviewed by Jennifer Shennan Now here’s something different—a play about the ballet. Sylvia, an older woman living alone, is hanging onto the memories of the 127 times in her life she

Auto Cannibal 茁长的掠食Photo: ©️ WANG Xiao-jing

Matrix. Expressions Dance Company & Beijing Dance/LDTX

7 November 2019. The Q, Queanbeyan Matrix comprised two works, Auto Cannibal by Stephanie Lake, and Encircling Voyage by MA Bo. The program was created in Beijing over a five week period when twenty dancers, six from the Brisbane-based Expressions Dance Company and fourteen from the Beijing-based Beijing Dance/LDTX came together to work and collaborate. The Queanbeyan performance was just

Cinderella. Queensland Ballet

5 November 2019, Canberra Theatre Below is a expanded version of my review for The Canberra Times of Queensland Ballet’s Cinderella. The online version of that review is at this link. Cinderella. Queensland Ballet. Choreographer: Ben Stevenson. Composer: Sergei Prokofiev. Designers: Thomas Boyd (sets), Tracy Grant Lord (costumes), David Walters (lighting). Canberra Theatre, until November 10. Queensland Ballet’s Cinderella tells the

Sheree da Costa in Us 50, Sydney Dance Company 2019. Photo: ©Pedro Greig

Bonachela/Obarzanek. Sydney Dance Company

2 November 2019, Roslyn Packer Theatre, Sydney Sydney Dance Company’s second program for 2019, the fiftieth year of existence, began with a short film. Excerpts from the SDC repertoire during the years it was led by Graeme Murphy and Janet Vernon reminded us of the versatility of the productions during those years when strong narrative works alternated with beautifully abstract

Apsara relief, Angkor Thom, Siem Reap, Cambodia, 2008. Photo: © Michelle Potter

Dance diary. October 2019

Ten years ago … This website is now ten years old. While I initially went it alone, Jennifer Shennan from New Zealand joined me as contributor in 2014. Between us we have written 650 reviews, news items, and articles since the site went live in 2009. My first post was really just a very small photo diary of an amazing

Scene from 'Power'. QL2, 2019. Photo: © Lorna Sim

Power. QL2 Dance

18 October 2019. Theatre 3, Canberra. The Chaos Project The Chaos Project has long been a feature of the Canberra dance scene. Designed for the young and less experienced of the dancers who are part of the QL2 Dance community, each year it has a different theme. This theme is examined through a series of short works, which are combined

Puerto Rican ladies in 'West Side Story'. Opera Australia, 2019. Photo © Jeff Busby

West Side Story. Opera Australia (another review)

12 October 2019 (matinee preview), Canberra Theatre Opera Australia’s production of the Broadway musical West Side Story was reviewed on this website by Jennifer Shennan—see this link—when it opened in Wellington ahead of its Australian performances. But of course I could not miss the show, especially when it has such a strong emotional appeal for me. When West Side Story

Shaun Parker. The epic journey continues

When I interviewed Shaun Parker in 2017 for the National Library of Australia’s oral history program, his concluding remark was that it had been such a pleasure to be able to talk about ‘the epic journey of past, present and future.’ It was a wonderful way to finish the interview and it gave me the opportunity to write a story,