Filling the Space. Quantum Leap/QL2 Dance

8 August 2019. The Playhouse, Canberra Theatre Centre

As the curtain went up on QL2’s 2019 Quantum Leap production, Filling the Space, I sat up with a jolt. There were a couple of ballet barres onstage and dancers standing in ballet positions, even doing the occasional demi-plié. Not only were we faced with the barres and the pliés but the entire space of the Playhouse stage was stripped of its usual accoutrements—no legs or borders to mask the wing space or to hide the lighting or flies. Everything that is usually hidden from the audience was on show. What was this? Well, it was the beginning of James Batchelor’s Proscenium and Batchelor, now with a good number of works behind him, has never left us in any doubt that what he creates will be unusual in approach and leave us to ponder on what his works are about.

But what made Filling the Space, the overall production, so fascinating was that it showed off the diversity of the choreographic voice. We saw the work of three choreographers, Batchelor, Ruth Osborne and Eliza Sanders, and it would be hard to find three works so different in conception and vocabulary.

Batchelor’s Proscenium examines the space of the stage both within and beyond the structure that frames that space—the proscenium. It was rewarding to consider the particular use of the space he identified in the context of dance and architecture, which was the overarching theme of Filling the Space. But for me Batchelor’s use of the architecture of the stage space was not the most interesting feature of his work. His choice of movement vocabulary was the highlight. It ranged from extremely slow and intensely detailed, even introspective, movement to faster unison work with some partnering that relied on balance and support. As well there was extensive manipulation of those barres and other metal frames, some that dropped from the flies, others that looked like clothing or costume racks. At one point we watched a circus-like stunt with one dancer balancing on a narrow support joining the end parts of one of those racks while another dancer spun the whole structure with ever increasing speed in a giant circle. At another point, rows of chairs were brought onstage and dancers entered, sat down, moved some parts of the body, then rose and, with arms still in the pose they had taken while seated, made their exit. Batchelor was examining how stage space can be filled and emptied in various ways, but it was the way in which that examination occurred that was more interesting than the fact that it occurred.

A moment from *Proscenium*. Quantum Leap, 2019. Photo: © Lorna Sim

Ruth Osborne’s Naturally Man-Made was danced against a background of footage shot on and around the grand staircase of Canberra’s Nishi building, a staircase made of recycled timber and a spectacular part of the building. Sometimes we saw the staircase as an installation devoid of people, at other times the footage included dancers performing on the staircase. In front of this footage dancers performed what might be called Osborne’s signature style—mass groupings of dancers with occasional break away moments. It fulfilled nicely, if in an obvious manner, the concept of dance and architecture.

Dancers of QL2 in Ruth Osborne’s *Naturally Man-Made*, Quantum Leap 2019. Photo: © Lorna Sim

Eliza Sanders had a totally different take on what constitutes architecture. Her work, The Shape of Empty Space, looked at emotional responses to different spatial environments. In this work her movement vocabulary was almost like mime. It focused on two main emotions, a feeling of being wild and free in some environments, with an accompanying flinging of arms, legs, and indeed the whole body in an unrestrained way; and a feeling of being crowded into a tight space, with an accompanying restraint in movement and groupings of dancers. The work was stunningly lit by Mark Dyson with well lit spaces alternating with hidden spaces set up by black curtains hanging at intervals in the performing space. It was architecture built by light and darkness through which we watched dancers appear and disappear. The work had a sculptural ending as dancers built an architecture of their own.

Dancers of QL2 in Eliza Sanders‘ The Shape of Empty Space, Quantum Leap 2019. Photo: © Lorna Sim

Both Batchelor and Sanders are QL2 alumni who are now working professionally as independent dancers and choreographers. Osborne is an early mentor to them. How lucky are the current dancers of QL2 that they get to work with choreographers whose creativity is so different, whose vocabulary is so individualistic, and whose work is so fascinating to watch, and so interesting to think about.

Michelle Potter, 10 August 2019

Featured image: Dancers of QL2 in James Batchelor’s Proscenium. Quantum Leap 2019. Photo: © Lorna Sim

Bright Young Things and Eastern Corset Dancers, 'Undercover' Palm Beach Pictures, 1982. Design by Kristian Fredrikson, National Library of Australia

Dance diary. July 2019

The Fredrikson Project

At the beginning of July, I set up a funding project via the Australian Cultural Fund in an effort to raise enough money to pay for digitisation of designs for inclusion in my forthcoming book on the life and career of designer Kristian Fredrikson. Following Fredrikson’s death in 2005, the executors of his estate placed a large collection of his personal papers and designs in the National Library in Canberra. Unfortunately very little of this material has been digitised so the costs of acquiring material at a resolution suitable for publication are high. The same applies to material held in the National Gallery also in Canberra.

Well the project has now ended and I am thrilled to report that we achieved our funding goal. I thank from the depths of my being those incredibly generous people who supported the project and allowed us to reach our goal. Below, in low resolution, are three images that may well appear in the book. They are all, as is the featured image, from Fredrikson’s film commissions from the 1980s. Just a tiny sample of the kinds of designs to which I now have access.

Clockwise from top left: Two Bods from The Magic Telescope; Village Men
from Vietnam; Boxing poster from The Shiralee.

Fredrikson’s designs are filled with surprises. All images are from MS 10122, National Library of Australia.

Deon Hastie appointed to head NAISDA College

The latest news from NAISDA College is that Deon Hastie has been appointed Head of Dance at the College. Hastie is a former student of NAISDA and graduated from there in 1998. Many will remember him as an exceptional artist with Leigh Warren and Dancers between 1999 and 2010. He both danced and choreographed during those years and, on leaving the company worked as an independent choreographer and teacher and has been artistic director of Kurruru Youth Performing Arts in Adelaide since 2010. He is seen below in an image by Adelaide-based photographer Alex Makeyev.

Deon Hastie in *Divining*. Leigh Warren and Dancers, 2000. Photo: © Alex Makeyev. National Library of Australia

Press for July 2019

‘Bangarra celebrates 30 years with pride.’ Review of Bangarra Dance Theatre’s Bangarra: 30 years of sixty five thousand. The Canberra Times, 23 July 2019, p. 13.

Michelle Potter, 31 July 2019

Featured image: Bright Young Things and Eastern Corset Dancers from Undercover. Palm Beach Pictures, 1982. Design by Kristian Fredrikson, National Library of Australia

The White Crow. A film from Ralph Fiennes

I remember how much I enjoyed reading Julie Kavanagh’s biography of Rudolf Nureyev—Nureyev. The Life published in 2007. It was so beautifully researched and very readable. So the recently released ‘biopic’ The White Crow, which was inspired by Kavanagh’s book, had something to live up to for me. Well, despite a swag of less that ecstatic reviews from film critics around the world, I loved this movie. Directed by Ralph Fiennes, it follows the early life of Rudolf Nureyev, from his birth until his defection to the West in 1961.

As this is a dance site I am assuming that readers are aware of the basic outline of Nureyev’s early life so I won’t recount the story. Instead I am selecting moments, some that brought me close to tears, some that made me smile, and some that, despite knowing what was going to happen, had me the edge of my seat. And others.

I was moved when Nureyev’s mother, Farida, was about to give birth on the train rattling its way through the Russian countryside. Her daughters stood in the corridor, shielded from the birth but hearing the groans and shrieks coming from their mother. The smallest of the daughters had tears in her eyes— such a beautiful moment from such a little girl. It brought me close to tears.

Another moment connected with Farida also moved me. Nureyev, sitting alone in the office of the French Police Department at Le Bourget Airport, had to decide which door to take to leave the office. Would he leave via the back door and choose freedom, or would he leave through the main door, back into the hands of the Soviet representatives? They had told him, amongst other things, that he would never see his mother again if he chose freedom. We knew, of course, which door he would choose, but nevertheless, the tension throughout the airport scenes was gripping. As we sat there waiting for him to make his decision, however, the filmed location changed. We were transported back to Ufa, where Nureyev grew up and where he took his first dance lessons. In this flashback the young Nureyev entered the Ufa studio and his teacher asked his mother to leave. The young Nureyev began to dance a folk dance—it was performed so well by a little boy playing Nureyev aged eight or so. But as Farida disappeared down the corridor we knew that the choice had been made way back there in Ufa.

The scene in the dance studio was not the only time the film flashed back to Nureyev’s earlier life. I found these flashbacks, which were in black and white rather than the colour of the main footage, quite mesmerising. They were evocative and developed the storyline in an inspired way.

In the movie I really enjoyed meeting Clara Saint played by Adèle Exarchopoulos. As the woman who befriended Nureyev and then was instrumental in facilitating his defection, she has always seemed a mysterious character. She was somewhat mysterious, or perhaps reserved in personality, in this movie too but it was interesting to have a three dimensional reading of her.

Fiennes, the director, played Alexander Pushkin, Nureyev’s main teacher at the Kirov school and the man who, with his wife, accommodated Nureyev in their St Petersburg apartment during a momentous time in his early dancing life in St Petersburg. Fiennes’ portrayal was restrained and it was hard to know what he really thought of any situation in which he found himself. I had to wonder why he didn’t react a little more strongly to his wife’s sexual relationship with Nureyev, which was made very clear to us. But then maybe the real Pushkin didn’t mind?

Oleg Ivenko, a dancer himself, played the grown up Nureyev and we saw some respectable dancing from him. I couldn’t help but think, however, that his dancing owed a lot to Nureyev whose approach, all those years ago now, to turns, jumps, manèges and the like changed the look of male dancing forever. Having said that, it was interesting to see Nureyev himself in the credits (in dancing footage that had been reduced to minuscule size) and to realise that his technique was really quite raw in many ways.

And the moment that made me smile? After negotiating his way through the crowd at Le Bourget, not to mention managing the ongoing harassment of the Soviet representatives, Nureyev finally reached the office of the Police Department. ‘Do you have a cognac?’, he asked. And of course, being French, they did.

A film well worth seeing!

Michelle Potter, 30 July 2019

My most recent writing on Nureyev was for the printed program for the 2018 visit to Brisbane by Teatro all Scala from Milan. Here is a link to that article.

Alan Alder as Hakuryo in Robert Helpmann's 'Yugen'. The Australian Ballet 1965. Photo: Walter Stringer

Alan Alder (1937–2019)

Alan Alder, who has died in Perth at the age of 82, was born in Canberra of Scottish/Australian parentage. In Canberra he initially studied tap and Scottish highland dancing with June Hammond. Later, while at Canberra High School, he took ballet lessons with Barbara Todd, a former Sadler’s Wells Ballet soloist who had come to Canberra when her husband took up an appointment at the Australian National University.

Winning a scholarship to the Royal Ballet School in 1957, he studied there for a short time, largely with Harold Turner, before joining the Covent Garden Opera Ballet, where he worked for the next twelve months. His experiences with that company included dancing in productions featuring artist such as Joan Sutherland and Maria Callas. ‘It was an incredible education I had in that one year,’ he recalled in an oral history interview conducted in 1999.

In 1958 Alder joined the Sadler’s Wells Royal Ballet. He was promoted to soloist and toured extensively with the company throughout Europe, Australia, New Zealand, Japan, and South Africa over the next four years. His touring schedule included the 1958-59 tour to Australia and New Zealand. Of his experiences on tour in Australia he recalled, in addition to the variety of roles he performed, a total blackout in Sydney’s Empire Theatre. ‘There was John Field onstage with hurricane lamps rehearsing the swans in the second act of Swan Lake,’ he said. He also remembers ‘Midnight Matinees’ towards the end of the Australian tour, which were fundraisers for victims of bush fires that devastated areas of Australia in 1958.

Alan Alder in *Coppelia*. Royal Ballet Australasian tour, 1958. Photo: Walter Stringer

At the invitation of Peggy van Praagh, Alder returned to Australia in 1963 to join the Australian Ballet as a senior soloist. He was promoted to principal artist in 1969, and later was a guest artist with the company from 1978 to 1980. With the Australian Ballet Alder danced many principal roles in a wide selection of ballets. He scored particular success as Alain in La Fille mal gardée, a role he danced initially with the Royal Ballet in 1961, and again with the Australian Ballet on many occasions from 1968 onwards. But other works, new and old, in which he took leading roles included Melbourne Cup, Threshold, Sebastian, Giselle, Pineapple Poll, Lady and the Fool, Othello, Romeo and Juliet, Yugen, and Carmen.

Alan Alder as Jasper the Pot Boy with Maria Lang in *Pineapple Poll*. The Australian Ballet, 1976. Photo: Walter Stringer. National Library of Australia

Alder married fellow dancer Lucette Aldous in 1972. In the mid 1970s both Alder and Aldous were invited by the Russian ministry of culture to study teaching methods in the USSR. In St Petersburg they studied Boris Kniaseff’s floor barre and the Vaganova system of training. The opportunity to visit Russia came at a time when the Department of Foreign Affairs and Trade had just signed a cultural agreement with the USSR and Alder and Aldous were the first Australians to go to Russia under that agreement. Alder recalled:

‘We gained tremendous insight into the ideology of Agrippina Vaganova and also, in the short amount of time we had, we crammed as much as we could into learning on our bodies how to pass on that system, not necessarily just the choreography of the actual exercises, the enchainments, but the reason behind doing them.’

Following his departure from the Australian Ballet in 1980, Alder took up part-time teaching with Dame Margaret Scott and Anne Woolliams. In 1983 he was appointed to head up the dance department at the Western Australia Academy of Performing Arts, Edith Cowan University, a position he held until 1991. He then took up a teaching position at the Perth Graduate College of Dance. His involvement with Ausdance (WA) began in 1987 and his contribution to that organisation was recognised with a life membership.

In 2004, Alder and Aldous were jointly recognised as State Living Treasures by the Government of Western Australia. The citation included the words ‘outstanding contribution to dance’ and ‘dedication as advocates for the development of dance in Western Australia.’

Alan Richard Alder. Born Canberra, 14 September 1937; died Perth, 15 July 2019

Featured image: Alan Alder as Hakuryo the Fisherman in Yugen. The Australian Ballet, 1965. Photo: Walter Stringer. National Library of Australia.

Michelle Potter, 15 July 2019

Dancers of the Monte Carlo Ballet in 'LAC', 2019. Photo: © Alice Blangero

LAC. Les Ballets de Monte Carlo

29 June 2019. State Theatre, Victorian Arts Centre

This production was yet another re-imagining of Swan Lake. It centres, we are told, on the choice between good and evil and on connections to our childhood fears and nightmares, all against ‘a Machiavellian family backdrop’. It began with a short film clip in which the story we were to see on stage unfolded before us as moving image. Although I baulked slightly at the robotic depiction of the King and Queen, and at the von Rothbart/Black Swan/evil character with her black sunglasses, lovely to watch were the Prince as a little boy playing with his fair-haired companion dressed all in white (the future Odette/White Swan), and the dark haired child dressed in black (the future Odile/Black Swan) who tried to intervene.

The work closed dramatically and had me on the edge of my seat as a large dark cloth swirled across the stage engulfing the dead bodies that lay there.

In between the opening and closing scenes it was a different matter. The storyline was easy to follow, there was some good strong dancing, and one or two characters stood out for me. I especially admired the dancing and acting of Daniele Delvecchio as the Prince’s Confidant (Benno figure?). And I admired the stage presence and ‘architectural’ choreography of the Black Swan and the Archangels of Darkness who often accompanied her.

The Black Swan with the Archangels of Darkness in *LAC*. Les Ballets de Monte Carlo. Photo: © Alice Blangero

But I truly disliked the way the Prince seemed so goofy, standing there with bent shoulders and head down. Yes, his father was trying to make a man of him, the notes tell us, but I wished he could have been a little more princely in bearing. On the whole I found the choreography quite bland and I also found the way Tchaikovsky score was chopped around a little hard to take.

Still it’s always interesting to see a new take on an old classic. Some are just better than others.

Michelle Potter, 4 July 2019

Featured image: Dancers of the Monte Carlo Ballet in LAC, 2019. Photo: © Alice Blangero

Please consider supporting my Australian Cultural Fund project to raise money to have hi-res images made for my book on the career of designer Kristian Fredrikson, which is heading towards publication. See the project, which closes on 30 July 2019, at this link. Donations are tax deductible. [Update 1 August 2019: Project closed]

Dance diary. June 2019

Shona Dunlop MacTavish (1920-2019)

The death of Shona Dunlop MacTavish in Dunedin, New Zealand, on 18 June at the age of 99 sent me back to her autobiography, Leap of faith. It was published in 1997 and the early sections give a fascinating account of her schooldays in New Zealand and her time in Europe over four years beginning 1935. Those four years included her introduction to dance and in Leap of faith Dunlop MacTavish gives her thoughts on her early teachers, one of whom was Gertrud Bodenwieser. Of Bodenwieser and how her classes affected people, Dunlop MacTavish writes

Frau Gerty, as she was known by her students, was a small erect figure who, when not demonstrating, examined her class through an intimidating lorgnette … Although nervous at first, I began to relax and enjoy myself as it appeared she was taking little notice of me. Soon I was swept up with the rest of the class—a mass of whirling bodies with ecstatic faces.

The book continues through Dunlop MacTavish’s life in in South America on tour with Bodenwieser’s dancers; follows her experiences in Australia, China and Africa (the latter two with her missionary husband Donald MacTavish); and then moves on to the Philippines. The story then comes back to New Zealand and her home city of Dunedin where she set up a number of dance-related initiatives.

Dunlop MacTavish’s choreographic output was extensive and a list of her choreographies in Australia and New Zealand forms an appendix to Leap of faith. It is remarkable list. As one example, the first solo she created for herself was Two souls alas reside within my breast. Along with others of her early works, she danced it when her husband-to-be came to the Bodenwieser studio in Sydney to be introduced to her dancing. In her oral history interview for the National Library of Australia she explains the origin of the work:

I’d seen a young man in a nightclub with a very scarred face, beautiful on one side, all scarred on the other. It suddenly gave me the image of how many of us actually have two personalities. The title of the work was taken from some writing by Goethe. [Faust, First Part]

Shona Dunlop in a study for *Two souls alas reside within my breast*, c. 1945. Photo: Clifton Firth. From a card using material from the National Dance Archive of New Zealand

For more on the remarkable life of Shona Dunlop MacTavish, here is a link to an oral history interview I recorded with her for the National Library on 13 April 1998. It is available online both as audio and as a transcript. Leap of faith is also definitely worth a re-read.

Queen’s Birthday Honours list

Congratulations to Li Cunxin, Meryl Tankard and Régis Lansac, who were all recognised in the 2019 Queen’s birthday honours list. Li and Tankard received an AO, Lansac an OAM.

In a recent conversation with Patrick Harding-Irmer and Anca Frankenhaeuser I also heard that Robert Cohan, founding artistic director of London Contemporary Dance School and London Contemporary Dance Theatre, had also been honoured in England. Cohan influenced the careers of many Australian dancers and choreographers. He was knighted!

With regard to the Australian awards, Lansac’s work is not often acknowledged as much and as appropriately as it should be, so it is especially pleasing to see that he has been recognised. Below are a few of many photographs taken by Lansac that are part of a collection held in the National Library of Australia. His career has crossed boundaries as these images show. Here, too, is a link to an article that appeared in the now-defunct National Library of Australia News, which gives a little insight into Lansac’s early Australian collaborations and commissions. See also the tag Régis Lansac on this website.

Below left: Pierre Thibaudeau of Entr’acte Theatre in a solo performance, Sydney 1985. Below right: Richard Talonga of One Extra Company in Kai Tai Chan’s Midnight Moon, Sydney 1984.

Above left: Portrait of dancer Mary Duchesne, 1987. Above right: Tim Coldwell, Circus Oz, 1982. All photos: © Régis Lansac

Dancing under the southern skies

A new book by Valerie Lawson has just been published. I have not yet had time to read the copy I have but, flicking through the pages, there are some great photographs in it that, as far as I am aware, have never been published before. Lawson also sets the scene for what is (or rather what is not) contained in the book when she writes: ‘Dancing under the southern skies is not a detailed description of professional ballet performances in Australia—the dates, the theatres, the casts, the designers—although the detail is important and, one day, might become a dictionary of ballet.’ The next paragraph in the introduction explains what is included. But I will leave that for your further reading!

Further information is on the publisher’s site.

Press for June 2019

‘Vale Jonathan Taylor’, Dance Australia, June/July 2019, p. 13. PDF at this link

Michelle Potter, 30 June 2019

Please consider supporting my Australian Cultural Fund project to raise money to have hi-res images made for my book on the career of designer Kristian Fredrikson, which is heading towards publication. See the project, which closes on 30 July 2019, at this link. Donations are tax deductible. [Update 1 August 2019: Project closed]

Featured image: Evelyn Ippen, Bettina Vernon, Emmy Towsey and Shona Dunlop, Bodenwieser Ballet, Sydney c. 1939. Photo: Max Dupain

The Dinner Party. Expressions Dance Company

21 June 2019. The Q, Queanbeyan

The Dinner Party has had a couple of manifestations. Choreographed by Natalie Weir for Expressions Dance Company, it was shown in 2015 as The Host. I suspect, however, that the inspiration for it can be traced back much further to 1989 when Janet Karin commissioned Weir to make a short work, which was also called The Host, for the National Capital Dancers. The current production, which opened in Brisbane in May and is now on a national/regional tour, is probably somewhat different in impact from the 2015 showing, given that Weir no longer directs Expressions. The company is now under the directorship of Amy Hollingsworth and her dancers are a quite different group, which definitely adds a new feel to the company.

I was a little taken aback by The Dinner Party. The storyline, or theme, explores the manipulative side of human beings. The character of the Host (Jake McLarnon) attempts to wield power over his four guests, although not all of them wish to be manipulated. The work thus lends itself to a choreographic display of power, and power is what we get. One of Weir’s strengths as a choreographer has always been an ability to combine movement in unexpected ways, especially in duets or with other small combinations of dancers. We saw those unexpected movement combinations in The Dinner Party, not only between dancers but also between dancers and the table and chairs that made up the set. There was a lot that was acrobatic, hugely energetic, and definitely powerful.

It was a thrill to see Bernhard Knauer, whose work with Sydney Dance Company I had admired over several years before he moved on. He played the role of the Rival and his solo on the table, and his duet with McLarnon towards the end of the work, were highlights.

Bernhard Knauer in *The Dinner Party*. Expressions Dance Company, 2019. Photo: © David Kelly

But overall I was taken aback because for me the exploration of the human psyche through choreographed interpersonal relations between the cast members seemed, in the end, to be the least important part of the work. There seemed just to be a lot of gymnastic-type dancing around or on a table, which didn’t advance the theme. I did, however, enjoy the costumes by Gail Sorronda, which captured the intrinsic qualities of each of the characters, and the lighting by Ben Hughes, which cast great light and shadow at appropriate times.

Michelle Potter, 22 June 2019

Afterthought: it would have been helpful had there been a cast list (at least) somewhere in the theatre foyer, if no handout was being offered. The program was available online (with a character listed who did not appear in Queanbeyan), which I looked up after the show. But not everyone goes to the company’s website prior to or after the show.

Featured image: Jake McLarnon as the Host with Josephine Weirse, Jag Popham, Isabella Hood and Bernhard Knauer in The Dinner Party. Expressions Dance Company 2019. Photo: © David Kelly

30 years of sixty five thousand. Bangarra Dance Theatre

13 June 2019. Drama Theatre, Sydney Opera House

Bangarra Dance Theatre is 30 years old this year and its latest program, 30 years of sixty five thousand, celebrates that anniversary. It also acknowledges the extent of the heritage on which the company is built, and to which it looks for inspiration.

First up on the program was a revival of Unaipon, Frances Rings’ 2004 portrait of Aboriginal inventor, philosopher, writer and storyteller David Unaipon, whose portrait now appears on the Australian $50 note. Unaipon opens with a sequence in which a figure, representing Unaipon himself, dances behind a scrim in a mystical evocation of man’s existence. It then focuses on aspects of Unaipon’s early background as a Ngarrindjeri man, and subsequently follows some of his thoughts and ideas in areas of science and religion.

Every scene in Unaipon had its unique choreographic qualities. On the one hand, for example, there was Bangarra’s distinctive take on traditional movement in Sister baskets, a section about the intricate style of weaving that is distinctive to Ngarrindjeri culture. On the other, and in contrast, one of Unaipon’s particular scientific interests was the concept of motion and this concept was explored with choreography in which walking across the stage dominated. I don’t usually enjoy those moments that find their way into a lot of choreography where walking and running around the stage go on forever, or so it seems. But in the case of Unaipon, the movement was diverse as dancers dodged each other, passed each other, and gently bumped each other, all the time reflecting Unaipon’s interest in bodies in space.

The absolute stand-out performer in Unaipon was Tyrel Dulvarie, who danced the role of David Unaipon. In the opening sequence, gliding across the stage (on some hidden device?) and using exquisitely lyrical arm movements, he transported us into a world of dreams and ideas. Then in the section called Four Winds, which dealt with man’s need for knowledge about the seasons, he danced as Tolkami (the West Wind) wearing an astonishing grass costume by Jennifer Irwin. Dulvarie’s presence was commanding and his dancing transfixing in this solo. In the final section, which focused on Unaipon’s interest in religion, Dulvarie showed his ability to isolate individual movements (even toes played a role) and, again, his powerful stage presence was clear and imposing

Scene from 'Unaipon'. Bangarra Dance Theatre, 2019. Photo: © Daniel Boud — Tyrel Dulvarie as Tolkami (the West Wind) in *Unaipon*. Bangarra Dance Theatre, 2019. Photo: © Daniel Boud

The middle work on the program was Jiří Kylián’s Stamping Ground created in 1983 after a momentous visit made by Kylián to Groote Eylandt in 1980. In the Bangarra program, Stamping Ground was preceded by a brief video clip in which Kylián explained the origins of the work; his emotional response to his experiences on Groote Eylandt; and that the work was created not with the aim of copying Indigenous movement but as an homage to Indigenous culture. The dance itself was performed by six dancers, three male, three female. It was a revelation as it had all the characteristics of Kylián’s later choreography, including the manner in which he uses a backcloth as part of a work; the little snatches of humour; the beautiful, bird-like use of extended arms; the incredible lifts; and so on. Staged for Bangarra by Roslyn Anderson, Stamping Ground was stunningly danced by Tara Gower, Baden Hitchcock, Rika Hamaguchi, Ella Havelka, Tyrel Dulvarie, and Ryan Pearson. Their performance indicated the growing technical strengths of Bangarra dancers, who can now hold their own across a range of choreographic styles.

Rika Hamaguchi and Ryan Pearson in *Stamping Ground*. Bangarra Dance Theatre, 2019. Photo: © Daniel Boud

Bangarra means ‘to make fire’ in the Wiradjuri language and, for the closing section of Bangarra’s anniversary program, artistic director Stephen Page brought together a selection of moments from previous Bangarra productions and curated them under the name To make fire. The selections showed different aspects of Bangarra’s output, including biographical productions with selections from Mathinna; stories from the Torres Strait Islands with selections from About; and, in the final section given the over-arching name Clan, excerpts from Belong and Walkabout. This final section suggests a vision for a future in which identity can be reclaimed and reconciled with contemporary society.

A trio from Mathinna was a highlight for me. It suggested, through its varied movement and differing connections between the dancers, the potential nature of relationships between Mathinna, a young Tasmanian woman of Lowreenne heritage, and the colonial couple who adopted but then rejected her. Another highlight came in Clan when a short section called Wiradjuri was danced strongly by Beau Dean Riley Smith (a Wiradjuri man as it happens). Its music by David Page was mesmerising with a whispering voice-over murmuring the single word ‘Wiradjuri’ over and over.

Trio from 'Mathinna'.Bangarra Dance Theatre, 2019.. Photo: Daniel Boud — Lillian Banks as Mathinna, Rikki Mason as John Franklin and Tara Gower as Jane Franklin from *Mathinna*. Bangarra Dance Theatre, 2019. Photo: © Daniel Boud

In program notes for 30 years of sixty five thousand, Stephen Page suggests that Bangarra’s greatest achievement is that it has survived for those 30 years. But Bangarra has done more than survive. It has flourished. It can now claim an extensive repertoire of music and dance, which it can and does draw upon; it has a spirited associate artistic director in Frances Rings, who supports the dynamic director Stephen Page; and its dancers are polished performers whose movement vocabulary has gone from strength to strength over those 30 years. And if you are lucky enough to be at an opening night in Sydney, the company’s home base, it becomes very clear that the company has an appreciative audience unafraid to express its pride in and appreciation for Bangarra.

Michelle Potter, 15 June 2019

Dance diary. May 2019

David McAllister to retire

The news for May is headlined by the announcement that David McAllister, artistic director of the Australian Ballet since 2002, will retire at the end of 2020. McAllister has always been generous in situations that are about dance but fall outside performances. He launched, for example, two of my books, A Collector’s Book of Australian Dance and Dame Maggie Scott. A Life in Dance. In this month’s featured image (above) he is seen in the Chunky Move studios in Melbourne launching A Collector’s Book. The banner on the left shows an image that appears in the book, which was taken by Greg Barrett.

I have also enjoyed seeing McAllister at various conferences, including the first BOLD Festival held in Canberra in 2017.

Who will be the next director? The names that have been mentioned in the press so far (I have arranged them alphabetically by family name) include Leanne Benjamin, David Hallberg, Li Cunxin, Graeme Murphy, and Stanton Welch. One or two of them have declared they are not interested (not sure if I necessarily believe that). I have one or two others in my mind but I won’t mention them here! I do hope, however, that whoever survives the selection process and becomes McAllister’s successor will be someone who will be audacious in repertoire choices.

Shaun Parker and Company

In September 2010, dancer (and singer in the counter tenor mode) Shaun Parker registered a name: Shaun Parker and Company. Next year the company that bears that name will celebrate its 10th anniversary with, I believe, a special program.

The company has just recently returned from the Middle East and Austria where Parker’s most recent production, KING, was performed. In the meantime, Parker is now working on a new show for young people, IN THE ZONE, which will premiere in Sydney this coming September. It will feature street dancer Libby Montilla and the technology of AirSticks.

Scene from KING, Shaun Parker and Company, 2019. Photo: © Prudence Upton

Archibald Prize 2019

Among the finalists for the 2019 Archibald Prize, Australia’s well-known portrait prize hosted by the Art Gallery of New South Wales, was a portrait entitled Mao’s Last Dancer by Chinese-born artist Jun Chen. Chen, who is currently based in Brisbane, was commissioned last year by the National Portrait Gallery in Canberra to paint a portrait of Li Cunxin, artistic director of Queensland Ballet. It was one of twenty portraits commissioned to celebrate the Gallery’s twentieth anniversary. Chen followed up with a second portrait of Li and entered it for the Archibald Prize. While it didn’t take first place it was good to see a portrait of a dancer among the 2019 finalists. See all the finalists here.

*Mao’s Last Dancer*: Jun Chen’s portrait of Li Cunxin

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Michelle Potter, 31 May 2019

The Masters Series. Queensland Ballet

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 Ballet offering, is no exception. Li has put together an exceptional triple bill. It gives us George Balanchine’s Serenade, and Jiří Kylián’s Soldier’s Mass, both outstanding works from two of the world’s most respected choreographers. These two works are joined by a new work, The Shadows Behind Us, from American choreographer Trey McIntyre.

I have no hesitation in saying that, for me at least, Serenade, the first work of the evening, was the highlight. It was the first original work that Balanchine created in America, and it gives a foretaste of what his future works would be like—at least from a technical point of view. At times the spatial patterns Balanchine creates are so arresting that they seem to be the main feature of the work. He is a master of placing dancers on, and moving them around the stage.

But looking beyond the beautiful patterns, the steps that Balanchine asks of the dancers are complex— full of turns and fast footwork—and the dancers of Queensland Ballet rose to the occasion. Standout performances came from Yanela Piñera and Victor Estévez, who had the main pas de deux, and Lucy Green, Georgia Swan and Patricio Revé, who had soloist roles. The final few moments in which these dancers held the stage were quite moving. But the entire corps de ballet danced with thrilling technique throughout, and with a great feeling for the changing moods of the ballet.

(from top) Georgia Swan, Patricio Revé and Yanela Piñera in *Serenade*, Queensland Ballet, 2019. Photo: © Darren Thomas

The closing work was Kylián’s Soldiers’ Mass a work for 12 male dancers with choreography that is driving and relentless. The fascinating aspect of the work is the way in which Kylián manipulates the group. The dancers form into lines, break apart, regather, divide up again, leaping, falling, and partnering each other, and moving all the time to the very powerful 1939 composition by Bohuslav Martinu, Field Mass. Kylián’s work is a comment on war and the emotional toll it takes on those who are forced to engage in it. Emotion and drama surge throughout the work. Kohei Iwamoto was the star for me. Whether in his solos, or when he was dancing with his fellow soldiers, every inch of his body told the story. But then every dancer seemed totally committed.

Kohei Iwamoto in *Soldiers’ Mass*, Queensland Ballet, 2019. Photo: © Darren Thomas

In the middle, The Shadows Behind Us was, for me, the least successful work of the evening. Danced to songs by Jimmy Scott, it was brash and slick in an American idiom. Made on ten dancers, it consisted basically of six duets, including one between two men, in which relationships were played out. The set by Thomas Mika was a great addition to the work. It gave some kind of narrative element to the action. It consisted of a large white frame, or partial frame, in the downstage area, forming a kind of proscenium where the action was located. Behind it was a black void into which the dancers disappeared as they finished their duet (the shadows behind us). But I have to admit to finding the choreography quite stilted in many respects and some of the poses the men were asked to take seemed quite awkward.

Laura Hidalgo and Samuel Packer in *The Shadows Behind Us*, Queensland Ballet, 2019. Photo: © Darren Thomas

Despite my reservations about The Shadows Behind Us, The Masters Series was a great evening of dance, and a triple bill that fulfilled one’s expectations of the variety of dance that good mixed bills should contain.

Michelle Potter, 20 May 2019