Nikki Tarling in 'Alone', 2018. Photo: © Lorna Sim

Alone. Jack Riley and artists

30 March 2018, Courtyard Studio, Canberra Theatre Centre

Many words come to mind when thinking about Alone, a work by Jack Riley made on four dancers: confronting, demanding, mesmerising, mysterious, thought-provoking, physical, dangerous, even a little spooky at times.

After a bit of silence while we contemplate a shape under a grey blanket, Alone begins with a bang! Riley enters suddenly from a door at the back of the performing space. He flings it open, strides in, closes the door with a huge bang. We notice he is wearing a black, unadorned mask. He proceeds to shine blue lights on the shape in the middle of the floor and around the studio. Then he rips off the blanket and exposes a naked body, lying curled up. Where is this going we wonder? The body is that of Nikki Tarling and slowly, so slowly, she moves her body, mainly her limbs, until Riley arrives at her side and proceeds to dress her in baggy trousers and a close fitting top.

Throughout this opening adventure I am a little spooked by a black-clad, hooded figure who has quietly appeared and is leaning against a side wall. Throughout the evening he slinks, ever so slowly, around the walls of the studio until, in the last moments of the performance, he has reached the wall on the other side and is hovering near another curled up, naked figure. What role does he play?

Between the beginning and the end there is some strong dancing. The highlight is a duet between Riley and Tarling, sometimes involving two long rods, initially joined together. But once the rods are separated they become a little like weapons and the relationship between the two dancers has elements of a duel, a challenge, and a desire to gain the upper hand. There are moments that recall moves in fencing and the martial arts, and others of extreme physicality when bodies are thrown around sometimes to the extent that I think the dancers must have fallen and been injured. But no, it’s just Riley’s extreme choreography. It is exciting to watch, heart in mouth.

Jack Riley and Nikki Tarling in ‘Alone’, 2018.Photo : Lorna Sim — Jack Riley and Nikki Tarling in *Alone*, 2018. Photo: © Lorna Sim

Eventually, Riley relinquishes the mask, which is taken and worn by Tarling. Later, Riley has a solo in which he shivers and shakes. It is more emotional than physical, but it makes a powerful impact. And finally Tarling smashes the rod over Riley. It puts her in control.

Jack Riley in *Alone*, 2018. Photos: © Lorna Sim

What about the hooded character and the second naked body in the upstage corner? Well, to me in the end it seemed that death was hovering over life, and the entire show seemed like a confrontational look at forces that follow us throughout our life. I love a show that gives me the opportunity to have a personal interpretation of a performance, as Alone did. It was also a well structured and well danced show and was a definite step forward for Riley.

Michelle Potter, 31 March 2018

Featured image: Nikki Tarling and Jack Riley in Alone, 2018. Photo: © Lorna Sim

NOTE: I am sorry not to be able to mention the soundscape that accompanied the show; nor the names of the two other male dancers, who played minor roles in terms of dancing, but whose presence was essential (at least in relation to how I interpreted the work); nor the designer of the very interesting lighting. There was a list of those involved in the show stuck to a wall in the foyer, but the role each played was not identified. Something for next time?

Murphy. The Australian Ballet

16 March 2018. State Theatre, Victorian Arts Centre, Melbourne

This program was a retrospective of works by Graeme Murphy and was in celebration of his long association with the Australian Ballet. The evening began with a brief film clip of Murphy talking about those moments for a choreographer, and by extension for a dancer and for the audience, when a transformation occurs, when a choreographer is able to draw out from a dancer a quality that is artistry at the highest level. The brief interview (a monologue really) was a deeply personal reflection from Murphy and showed his humanity, his humility, his own artistry, and his respect for dance and those who engage with it.

The program that followed was a fine opportunity to ponder on what is distinctive about Murphy’s choreography. It consisted of excerpts from several of Murphy’s works, largely made originally for Sydney Dance Company, and a performance of Murphy’s Firebird, made for the Australian Ballet in 2009. Although Firebird has never been a favourite of mine—somehow it reminds me of a weird cult activity—it was distinguished on this occasion by an exceptional performance from Lana Jones in the title role. Her immersion in the role was complete and her first entrance was stunningly controlled, and believe me the choreographic requirements of that entrance are demanding.

Kevin Jackson and Lana Jones in ‘Firebird.’ The Australian Ballet, 2018. Photo: Jeff Busby — Kevin Jackson and Lana Jones in *Firebird*. The Australian Ballet, 2018. Photo: © Jeff Busby

But what emerged as the evening progressed was the diversity of Murphy’s output. His works have humour, but are also often clearly serious in emotional impact; they occasionally cross cultural boundaries; they are always closely connected to music, and his musical choices are themselves diverse; they can be classical in their dance vocabulary, or not so classical as the work demands; they are sometimes narrative-based, at other times quite abstract. Never a dull moment!

What was also fascinating was being able to see some of Murphy’s signature choreographic phrases and groupings across the course of the evening. What stood out for me was the way he uses small groups of dancers, often four, and has them work together as one. Bodies are thrown, swirled, turned upside down, but always engage in a smooth and lyrical manner.

In terms of the works presented, the highlight for me was Grand, the work he made in 2005 in honour of his mother, a pianist. A grand piano onstage was played by Scott Davie (as it was in 2005) and we were treated to several excerpts from this wonderful, funny, emotional work that was strongly musically oriented in so many ways—’sweeping in conception, intimate in detail and constantly surprising in choreographic invention’ I wrote in 2005. It made me long to see the full work again, but it was a treat to see as many sections as we did. They included the delightfully funny Chopsticks section and the Gershwin number, one of those remarkable uses of four dancers who seem to dance as one whatever impossible moves they are asked to make.

Valerie Tereshchenko and artists of the Australian Ballet in ‘Grand’, 2018. Photo: Jeff Busby — Valerie Tereshchenko and artists of the Australian Ballet in *Grand*, 2018. Photo: © Jeff Busby

The big disappointment of the evening was Shéhérazade, that exquisite short work for two men and two women made by Murphy in 1979. It was performed without the luscious, blue silk tent/canopy with its gold decorative elements, which was such an intrinsic part of Kristian Fredrikson’s designs for the work. Without it most of the mysterious and erotic quality of earlier performances was lost, as was the allusion to the art of Viennese painter Gustav Klimt, and the over-ridingly blue and gold colour scheme that Fredrikson imagined (and achieved). Those hanging strips of what looked like tinsel at times were quite out of place. Just before the work’s opening in 1979 Murphy told a journalist: ‘One of the fascinating aspects of this work will be the design inserted into the dancing. In a sense the dancers will be wearing the set.’ Not this time!

Having said that, however, the standout performance of the entire evening came from Lana Jones as the second of the female dancers in Shéhérazade. Jones’ technique was impeccable. But it was her beautiful attention to choreographic detail that grabbed my attention. Those moments when she moved her wrists in little twisting circles, while holding her hands and arms close to her slightly curved body were breathtaking, as was the way she moved her neck and chest at times. And how spectacular she looked in those iconic poses for all four dancers, which mark certain stages of the work.

The evening belonged to Graeme Murphy and I salute him for all those works that have thrilled us over the years. But bouquets to Lana Jones for two standout performances during the evening. She had it all, and I thought she was dancing not just choreography but Murphy’s choreography.

Michelle Potter, 18 March 2018

Featured image: artists of the Australian Ballet in Grand, 2018. Photo: © Jeff Busby

Liz Lea in the 'showgirl' sequence from RED, 2018. Photo: Lorna Sim

RED. Liz Lea Productions

8 March 2018, QL2 Theatre, Gorman Arts Centre, Canberra

What follows is a slightly expanded version of my review for The Canberra Times of Liz Lea’s RED. A link to the online version of The Canberra Times‘ review is at the end of this post.

The pre-show media for Liz Lea’s new work RED prepared us to expect something a little extraordinary, something a bit bawdy, something with adult themes, something fierce and fractious, perhaps something that was even a bit funny, but definitely something confronting. And yes, it was all of those things. But nothing, nothing at all, prepared us for the emotional power that coursed through RED, and for the brilliantly coherent manner in which the show drew its diverse sections together. And nothing prepared us for the courage and dignity with which Lea put her life before us, her life as a dancer who has battled endometriosis throughout her career.

RED was a multi-media experience. It began with a film clip of a young girl crossing a white bridge; the sound of a counter tenor singing that exquisitely melancholic aria ‘What is life to me without thee’ from Gluck’s opera Orfeo ed Euridice; and a voice over that began with the words ‘She thought she could have it all.’ That voice returned throughout the work. It was a doctor explaining the nature of the illness from which Lea suffered, and the procedures that she had to endure. I am told that the voice of the doctor was that of Brian Lucas, the dramaturg and Lea’s mentor for the production. Film clips from cinematographer Nino Tamburri also returned from time to time, and Lea talked about her career. Her conversation focused largely on how she managed her condition, but also went right back to her experiences as a thirteen year old dancer. Of course she also danced throughout the hour-long show.

The dancing segments were fast and forceful at times, full of theatrical extravaganza at others. It was easy to see in the choreography, from three choreographers (Vicki van Hout, Virginia Ferris and Martin del Amo) in addition to Lea, the styles with which Lea is most familiar—hints of Indian dance moves, suggestions of martial arts, and a fabulous, stunningly lit showgirl routine, choreographed by Ferris and lit by Karen Norris, with feathers (red of course), fans and sequins. Then there was a ‘codeine nightmare’ when Lea was joined by several older dancers dressed in black (the women mostly with added sparkles to their dresses) who danced with and for her and helped her live out the experience of having to manage excessive pain.

Liz Lea with Greg Barratt and David Turbayne in RED, 2018. Photo: Lorna Sim — Liz Lea with Greg Barratt and David Turbayne in *RED*, 2018. Photo: © Lorna Sim

But it was the ending that reduced me to tears. That incredible Gluck aria returned and Lea, now dressed in a tight, short, black number with high-heeled black patent leather shoes (with red soles), hair pulled back, and looking superbly elegant and glamorous, stood before us. She scarcely moved at first, but slowly her arms began a dance that gathered momentum and seemed to promise a future full of hope. Her limbs stretched this way and that, lyrical, questioning, wondering, and in the very last moment a shower of shiny, red “snowflakes” fell from above. The choreography for this last section was by Martin del Amo. Its simplicity was striking but it was also a breathtaking finale for all that it looked back on, and all that it promised.

Liz Lea in the finale to RED, 2018. Photo: Lorna Sim — Liz Lea in the finale to *RED*, 2018. Photo: © Lorna Sim

RED was a truly remarkable piece of dance theatre with the coherence that only exceptional dramaturgy can achieve. Every aspect of the production was astonishing, but standing out was the power of dance, and the wider multi-media context in which it can and did fit, to transmit a diverse and very human message, and to do so with such emotion and such clarity. As for Lea, how courageous, how remarkable can one artist be? Brava!

Here is the link to the online article in The Canberra Times.

RED: the prequel

RED was launched prior to its opening night performance in one of the courtyards of Gorman Arts Centre. It was a beautiful, clear, not-too-cold night and Gorman was alive. The show was launched by the ACT Minister for the Arts, Gordon Ramsay, and his launch speech was preceded by comments from artistic director of QL2, Ruth Osborne, and Gai Brodtmann, Member for Canberra in the Federal House of Representatives.

We were also treated to a performance by the ‘wuthering’ ladies and gentlemen of Canberra who danced to Kate Bush’s 1970s song Wuthering Heights.

Wuthering Heights community dancers, Canberra 2018. Photo: Lorna Sim — Wuthering Heights community dancers, Gorman Arts Centre, Canberra 2018. Photo: © Lorna Sim

Also on display in one of the studios of Gorman was a collection of costumes from Liz Lea’s collection covering her productions over the past 20 years, including the costume for her solo work Bluebird. Since its premiere in London in 2005, Lea’s Bluebird has been performed across the world, with its first Australian showing taking place at the Choreographic Centre, Canberra, in 2006.

Costume for Liz Lea's 'Bluebird'. Photo: Michelle Potter — Costume for Liz Lea’s Bluebird. Photo: © Michelle Potter

Michelle Potter, 9 March 2018

Featured image: Liz Lea in the ‘showgirl’ sequence from RED, 2018. Photo: © Lorna Sim

Dance diary. Feburary 2018

Russell Kerr Lecture

In February I had the pleasure, and honour of presenting the inaugural Russell Kerr Lecture in Ballet and the Related Arts in Wellington, New Zealand. I spoke about the life and career of Wellington-born designer Kristian Fredrikson, of whom New Zealanders are rightly proud (as indeed are we Australians).

The lecture was made possible by a fund, recently established by a group of New Zealanders, to honour Russell Kerr, artistic director of the New Zealand Ballet (as it was initially called before receiving its Royal Charter) from 1962 to 1968. Kerr went on to hold many significant positions in the dance world and to choreograph many works for Royal New Zealand Ballet, including acclaimed productions with designs by Fredrikson of Swan Lake (1996), Peter Pan (1999) and A Christmas Carol (2001). The Russell Kerr Lecture will be offered annually for five years and plans are moving ahead for the 2019 lecture, which will be delivered by Dr Ian Lochhead.

The 2018 lecture was preceded by a performance (courtesy of Royal New Zealand Ballet) of Lark, a short but moving work by Loughlan Prior featuring Sir Jon Trimmer and William Fitzgerald. Both dancers gave an exceptional performance. Live music was provided by Hamish Robb and Beth Chen from the New Zealand School of Music. Here is what Jennifer Shennan wrote about Lark last year on this website:

‘Lark, choreographed by Loughlan Prior, of Royal New Zealand Ballet, performed by Jon Trimmer and William Fitzgerald, proved a masterwork. There’s little surprise in that since Prior has already earned considerable choreographic kudos. 78 year-old Trimmer’s presence on stage, before he even moves a muscles, reeks with the authenticity of a performer who deeply knows how dance works. Fitzgerald moves with a calm clarity that makes virtuosity seem effortless, and his elevation is something to savour. Suffice to say this piece portraying an older dancer as he sifts memories of dances past, alongside a younger dancer’s questing after the kinds of things that will bring meaning to his future performances, had a poignancy to treasure.’ (Jennifer Shennan)

See this link for a podcast from Radio New Zealand in which presenter Lynn Freeman and I talked about Fredrikson’s career. Unfortunately I have not yet been able to have the spelling of Fredrikson’s name corrected on the RNZ web page.

The Piano, Royal New Zealand Ballet

Royal New Zealand Ballet’s production of The Piano, with choreography by Jiri Bubenicek, opened late in February in Wellington. Stay tuned for Jennifer Shennan’s review.

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in 'The Piano', Royal New Zealand Ballet 2018. Photo: © Stephen A'Court — (l-r) Hazel Couper, Abigail Boyle and Paul Mathews in *The Piano*, Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court. Courtesy Royal New Zealand Ballet

Press for February 2018

Critics survey 2017. Dance Australia, February/March 2018, pp. 31–32. See this link for a PDF version of my selections.

Featured image: Follow this link for a PDF copy of the lecture handout.

Michelle Potter, 28 February 2018

In a flash. Australian Dance Party

18 February 2018. National Portrait Gallery, Canberra

Have you ever wondered what happens inside (and outside) a film studio? Well Australian Dance Party’s latest show, In a flash, gives a clue. Commissioned by the National Portrait Gallery, In a flash was made in response to Starstruck, a Gallery exhibition of portraits of Australian film personalities.

Party Leader Alison Plevey assembled four dancers—Adam Deusien, Gabriela Green, Leeke Griffin and Alana Stenning—to join her for a 25 minute, fast-moving and cleverly thought through piece. The five dancers were joined by photographer Lorna Sim and graphic artist Anna Trundle who, between them, shot and edited live a series of photographs, which were displayed as they were edited on a screen in the performing space.

The piece began in glamorous style, more or less—thongs were the order of the day in the footwear area. The five dancers began outside Gordon Darling Hall and made their way, after peering through the glass panels, inside. Once inside, their dancing was slick and paid homage, music-wise at least, to Strictly Ballroom. Sometimes the early parts of the show had an air of being full-on, over the top Hollywood style. Lots of smiling, lots of make-up, lots of presenting oneself.

Opening number from In a flash. Australian Dance Party 2018. Photo: Lorna Sim edited by Anna Trundle — Early number from In a flash. Australian Dance Party, 2018. Photo: Lorna Sim, edited by Anna Trundle

But the glamour quickly gave way to more down to earth matters—behind the scene processes such as preparatory work, working up a curriculum vitae and the like. And costuming became more down to earth too when the glamorous outfits were discarded for rehearsal clothing or regular dance gear.

Adam Deusien, Gabriela Green, Lekke Griffin, Alison Plevey and Alanna Stenning in a scene from In a flash. Photo: Lorna Sim edited by Anna Trundle — (left to right) Adam Deusien, Gabriela Green, Leeke Griffin, Alison Plevey, and Alanna Stenning in a scene from *In a flash*. Photo: Lorna Sim, edited by Anna Trundle

There was some strong dancing too in the form of solos, duets and company pieces. I especially enjoyed a sequence featuring the tall and statuesque Griffin, who danced with a white sheet of fabric (representing a towel?), tossing it, wrapping it around herself, and using it various other ways. Sometimes when she posed, legs together, body lifted tall and slightly arched back, head held high, she reminded me of swimmer and film star Esther Williams or, more appropriately in the circumstances, the Australian swimmer and also a star performer, Annette Kellerman.

As these performances (perhaps they should be called ‘takes’) were proceeding, Lorna Sim was taking photos, with her apparatus linked to a computer. Occasionally the shots from performance were beautifully edited into portrait-style images. Very appropriate given that we were in the National Portrait Gallery.

Portrait of Leeke Griffin. Photo: Lorna Sim, edited by Anna Trundle

It was only at the end, however, when Sim faced us and said ‘thank you’ that I realised how cleverly put together In a flash had been. Alison Plevey thinks outside the box. She puts together shows that attract attention instantly, but in the end they go beyond that instant gratification. Demanding they are, but that’s what the best dance is like. I came away pondering about whether I was meant to be sitting in the Portrait Gallery, or in a film/television studio with Lorna Sim as the link with the audience.

Michelle Potter, 20 February 2018

Featured image: Opening scene, In a flash, Australian Dance Party, 2018. Photo: Lorna Sim, edited by Anna Trundle

Note: For various reasons, this is the first National Portrait Gallery dance commission that I have attended without seeing first the exhibition that was the inspiration for the show. This of course has it drawbacks. But by the same token, it means I came to the show without prejudices. Take it as it is written.

Eileen (2017). A film by Sue Healey

A recent acquisition by the National Portrait Gallery in Canberra is a short 6 minute film featuring ex-Bodenwieser dancer Eileen Kramer, aged 103 when the film was shot. This is a truly haunting film by Sue Healey, working with cinematographer Judd Overton. Kramer dances, seated for the most part, to a gentle musical score composed by Darrin Verhagen and Justin Ashworth. The choreography is simple. Kramer uses her hands and lifts and turns her head occasionally. Simple but in the end quite moving.

The production is quite stunning with beautiful lighting that sometimes shines onto Kramer’s face, illuminating it with halo-like effect. White smoke haze is blown across the space occasionally. Kramer uses a white cloth fan at times. It is quite large when unfolded and the edges of the cloth extend over the frame so that there are gorgeous moments of tiny movement when the fan is moved. The chair Kramer sits has an antique look to it and is placed on a length of grey fabric that cascades along the floor. The colour scheme throughout is white and various shades of grey.

Here is the wall caption from Healey:

Eileen is a portrait of a dancer. Eileen joined the Bodenwieser Ballet—Australia’s first modern dance company—in 1939 and then spent many years living in India, Europe and America before returning to Sydney in 2014. She was living at Thurles Castle, ‘a home for the potentially homeless’, in Chippendale, Sydney, when I first met her, and we have collaborated on many projects since then. At 103 years of age, Eileen Kramer continues to create: she performs, designs costumes, draws and writes on a daily basis. A painted portrait of Eileen, by surgeon Dr Andrew Greensmith, was a finalist in the 2017 Archibald prize: she thinks it is a lovely portrait but notes that it does not move. This portrait does.

So worth a visit to the Portrait Gallery!

Listen at this link to Eileen speaking for the National Library’s oral history program.

UPDATE, September 2018. Eileen won a 2018 Australian Dance Award for Outstanding Achievement in Film or New Media.

The film is now available at this link. https://vimeo.com/244582079.

Michelle Potter, 18 February 2018

Featured image: Eileen Kramer in the film Eileen

Postcard showing Italian ballerina Carlotta Zambelli

Dance diary. January 2018

RAD Conference 2018, Brisbane

I was delighted to be asked to give the keynote address at the 2018 RAD Conference in Brisbane during January. I will not, for copyright reasons, be posting my paper and PowerPoint presentation for the moment. I would, however, like to mention the surprise discovery (a surprise to me anyway) I made while preparing the paper. While examining the development of the Romantic tutu, and its relationship to changes in ballet technique at the time, I came across some interesting information about the forward tilt of the body that we often associate with the Romantic period—think of the Act II pas de deux in Giselle when Albrecht holds Giselle in arabesque as she moves her upper body forward.

Despite advances in technique that were being made during the Romantic period, and the freedom that was gained from having costumes made with softer fabrics, such as the muslin from which the long Romantic tutus were made, there were nevertheless some obstacles to technical development. While the skirt of the Romantic tutu certainly gave the dancers more freedom, the bodice of the costume still had a stiff under-corset. Such a costume restricted the height at which the leg could be lifted. When the leg reached a certain height, say in arabesque, the hip hit the corset. This meant that lifting the leg any higher than 90 degrees became difficult and probably painful. I was fascinated to learn that this inability to lift the leg higher than 90 degrees without some kind of pain is most likely the origin of the forward tilt of the torso that we associate with the Romantic style. And with the image of Carlotta Zambelli I have used as the featured image for this post that tilt can be seen clearly, as can her tightly corsetted upper body.

Michelle Potter, 31 January 2018

Featured image: Postcard showing Italian ballerina Carlotta Zambelli

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Dance diary. December 2017

‘The best of…’ for 2017

At this time of the year ‘the best of…’ fills our newspapers and magazines. My top picks for what dance audiences were able to see in the ACT over the year were published in The Canberra Times on 27 December. A link is below in ‘Press for December 2017.’ Dance Australia will publish its annual critics’ survey in the February issue. In that survey I was able to look more widely at dance I had seen across Australia.

In addition, I was lucky enough to see some dance in London and Paris. Having spent a large chunk of research time (some years ago now) examining the Merce Cunningham repertoire, especially from the time when Robert Rauschenberg and Jasper Johns were designing for the company, for me it was a highlight of 2017 to see Cunningham’s Walkaround Time performed by the Paris Opera Ballet. And in London I had my first view of Wayne McGregor’s remarkable Woolf Works.

In Australia in 2017 the absolute standout for me was Bangarra Dance Theatre’s Bennelong and that particular work features, in one way or another, in both my Canberra Times and Dance Australia selections. Of visitors to Australia, nothing could come near the Royal Ballet in McGregor’s Woolf Works during the Royal’s visit to Brisbane. At the time I wrote a follow-up review.

Eric Underwood and Sarah :amb in 'woolf Works', Act II. The Royal Ballet, 2015. Photo: © ROH/Tristam Kenton — Eric Underwood and Sarah Lamb in *Woolf Works*, Act II. The Royal Ballet. Photo: © 2015 ROH/Tristam Kenton

Some statistics from this website for 2017

Here are the most-viewed posts for 2017, with a couple of surprises perhaps?

1. Thoughts on Pina Bausch’s Rite of Spring. This was an early post dating back to 2009, the year I started this website. I can only imagine that Rite of Spring has been set as course work at an educational institution somewhere and this has resulted in such interest after close to 9 years?

2. Bryan Lawrence (1936–2017). Obituaries are always of interest to readers, but this one took off like wildfire.

Bryan Lawrence and Marilyn Jones in Giselle. Photo: Walter Stringer — Bryan Lawrence and Marilyn Jones in *Giselle,* Act I. The Australian Ballet, c. 1966. Photo: Walter Stringer. National Library of Australia

3. Ochres. Bangarra Dance Theatre. This review was posted in 2015 following the restaging of Stephen Page’s seminal work of 1994. It was powerful all those years ago and it is a thrill to see that audiences and readers still want to know about it.

4. New Zealand School of Dance 50th Anniversary Celebration—with Royal New Zealand Ballet. This is a relatively recent post so its position in the year’s top five indicates what a drama has been raging in New Zealand. Its comments are among the best I have had on this site.

5. RAW. A triple bill from Queensland Ballet. It is only recently that I have had many opportunities to see Queensland Ballet. The company goes from strength to strength and its repertoire is so refreshing. I’m happy to see the 2017 program RAW, which included Liam Scarlett’s moving No Man’s Land, on the top five list.

The top five countries, in order, whose inhabitants logged on during 2017 (with leading cities in those countries in brackets) were Australia (Sydney), the United States (Boston), the United Kingdom (London), New Zealand (Wellington), and France (Paris).

Some activities for early 2018

In January the Royal Academy of Dance is holding a major conference in Brisbane, Unravelling repertoire. Histories, pedagogies and practices. I will be giving the keynote address and there are many interesting papers being given over the three days of the event.

Then, in February I will be giving the inaugural Russell Kerr Foundation lecture in Wellington, New Zealand, and will speak about the career of New Zealand-born designer Kristian Fredrikson. The event will take place on 11 February at 3 pm in the Adam Concert Room at Victoria University of Wellington’s School of Music. The lecture will follow a performance (courtesy of Royal New Zealand Ballet) of Loughlan Prior’s LARK, created for Sir Jon Trimmer and William Fitzgerald in 2017.

Sir Jon Trimmer and William Fitzgerald in 'Lark' from 'whY Cromozone'. Tempo Dance Festival, 2017. Photo: © Amanda Billing — Sir Jon Trimmer and William Fitzgerald in *LARK* from *whY Cromozone*. Tempo Dance Festival, 2017. Photo: © Amanda Billing

Press for December 2017

‘History’s drama illuminated by dance.’ Review of dance in the ACT during 2017. The Canberra Times, 27 December 2017, p. 22. Online version

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And a very happy and successful 2018 to all. May it be filled with dancing.

2017 weave hustle and halt. Australian Dance Party — *weave, hustle and halt*. Australian Dance Party, 2017. Photo: © Michelle Potter

Michelle Potter, 31 December 2017

Merry and bright (and dancerly)

Some time ago now an Australian newspaper was sued over a review I wrote. Although ‘dancerly’ was not the major issue that generated the action, I remember a lawyer questioning my use of the word in the review (actually it was ‘non-dancerly’ that I used). To the lawyer, dancerly was not a real word. My Macquarie Dictionary (now rather old) says the adjective from dance is danceable. But I continue to use dancerly.

I wish all those who have logged on to my website, and especially those who have used the comments box to add their voice to a post, a merry and bright Christmas and holiday season, wherever you may find yourself.

Up a gum tree?

Or in snow and ice?

And of course I wish you all a dancerly time! Thank you for your support.

Michelle Potter, 25 December 2017

(And I should add that the lawsuit went in favour of the newspaper)

Featured image: Clara’s Christmas sunglasses.

Photos: Tim Potter and Michelle Potter

Toa Paranihi and Connore Masseurs in 'S.U.B.'. New Zealand School of Dance, 2017. Photo: © Stephen A'Court

Royal New Zealand Ballet at the crossroads?

The appointment of Patricia Barker as artistic director of Royal New Zealand Ballet has not been without controversy! Jennifer Shennan’s review of the 2017 50th anniversary show from New Zealand School of Dance with Royal New Zealand Ballet, in which she mentioned that no graduates from the School had been accepted into the New Zealand company, sparked a number of very thoughtful comments on this website. Scroll down through this link to read those comments. Discussions offline have been continuing with gusto.

This morning the following article appeared in New Zealand’s Sunday Star Times suggesting that things are moving to a whole new level.

Michelle Potter, 24 December 2017