Degas dancer, the Courtauld Gallery (detail)

Dance and art in London, November 2016

Being in London is always full of dance surprises. Apart from performances, the city’s galleries almost always have a dance-related exhibition, or a small display featuring dance items from their permanent collections. This November, for example, the Courtauld Gallery had a particularly interesting show, Rodin and dance. The essence of movement. It examined Rodin’s mouvements de danse, until now a little known a series of sculptures, with accompanying drawings, made towards the end of his life.

The first room of the exhibition had a section that looked at the inspiration Rodin drew from the visit to France by the Royal Cambodian Ballet in 1906, which I have discussed briefly in a different context elsewhere on this site. This room included a small number of the very beautiful drawings in pencil, watercolour and gouache that Rodin made of the Cambodian dancers, along with photographs of contemporary dancers who also influenced Rodin, including Loïe Fuller and Ruth St Denis, and some photographs of Rodin himself.

: Emile Sanremo — Auguste Rodin sketching a Cambodian dancer in France in 1906. Photo: Émile Sanremo

The second, and main room contained material devoted to the mouvements de danse, a collection of terracotta and plaster figures, with some bronze castings, and accompanying drawings showing extreme dance movements and acrobatic poses. Although the drawings had been exhibited during Rodin’s lifetime, the sculptures had not. While they were all fascinating to look at—and there is a handsome exhibition catalogue (Rodin and dance. The essence of movement (London: Paul Holberton, 2016)—a model of Vaslav Nijinsky (in fact two models, one in plaster and one in bronze) attracted my attention.

Auguste Rodin, bronze casting of Vaslav Nijinsky (original model 1912) — Auguste Rodin, bronze casting of a model of Vaslav Nijinsky (original model 1912)

Rodin is known to have been at the opening night of Nijinsky’s L’après-midi d’un faun in Paris in May 1912 and followed up with an article in the Parisian newspaper Le Matin in which he showered Nijinsky with praise. Shortly afterwards, Nijinsky reputedly visited Rodin in his studio when it is thought the model for the sculpture was made. Looking at the sculpture it is impossible not to notice a certain turbulence and intensity in the figure. It is quite breathtaking in fact.

The Courtauld also has a collection of bronzes and paintings by Degas including the one shown as the featured image in this post. This particular bronze made me wonder about how it was made. Did a model pose, and if so was she a dancer? Most dancers, I think, would automatically take a pose with the lifted arm in opposition to the pointed foot, rather than same arm as leg as in the sculpture. Or did Degas simply model from memory, or just by adding body parts unthinkingly? But however it was made, this sculpture looked particularly beautiful as a shadowy figure with light streaming through the window.

The other major show with a strong dance component was an exhibition, Picasso Portraits, at the National Portrait Gallery. One room was devoted to portraits and some photographs of Picasso’s first wife, Diaghilev dancer Olga Khokhlova. While the portraits and drawings were fascinating, so too were some photographs of Olga, including two of her on the roof of the Minerva Hotel in Rome and some wonderful home movie footage of the family—Picasso, Olga, their son Paulo, and the family dog enjoying some light-hearted family moments.

A portrait of Olga appears on the cover of the catalogue (Elizabeth Cowling, Picasso Portraits (London: National Portrait Gallery, 2016).

Other rooms in the Picasso Portraits exhibition contained items relating to Ballets Russes personnel including composers, designers and of course Jean Cocteau looking particularly dashing in one pencil drawing in two dimensional, Egyptian style representing, so the caption said, Cocteau’s well known vanity.

Michelle Potter, 12 November 2016

Featured image: Edgar Degas, bronze sculpture of a dancer, right foot forward, the Courtauld Gallery, London. Photo: Michelle Potter

George Balanchine. Paris Opera Ballet

9 November 2016, Palais Garnier, Paris

This all Balanchine program, which consisted of Mozartiana, Brahms-Schönberg Quartet and Violin Concerto, was staged in honour of Violette Verdy (1933-2016) who directed the Paris Opera Ballet between 1977 and 1980. I recall too that Mme Verdy coached Australian Ballet dancers during the directorship of Maina Gielgud and, of course, Verdy was a ballerina of international standing with a strong heritage of performing Balanchine. She died in February 2016. Earlier performances of this program also included Balanchine’s Sonatine, created for Verdy and Jean-Pierre Bonnefous in 1975, although by the time I got to see the program, Sonatine (for reasons unknown to me) had been dropped.

I have to admit to being slightly disappointed with Mozartiana. I have wonderful memories of it as performed by New York City Ballet where I loved the pride and the dignity that accompanied the dancing, and where the four young dancers who are included in the cast (in New York always from the School of American Ballet) seemed to be the recipients of a great tradition. While there was nothing amiss with the dancing by the Paris Opera Ballet cast I saw, including the young performers from the Paris Opera Ballet School, the work looked like nothing more than a pretty ballet to me. I did especially enjoy, however, the folk overtones in the choreography, and the performance by the second male lead, Fabien Revillion. Mozartiana is a new addition this season to the repertoire of the Paris Opera Ballet so it will be interesting to see how it develops on this company.

On the other hand, Brahms-Schönberg Quartet, which I had not seen before, and Violin Concerto were a huge pleasure to watch. In part it was seeing them together that gave such pleasure as they embody two quite different aspects of Balanchine’s choreographic approach.

Brahms-Schönberg Quartet, also a new addition to the repertoire of Paris Opera Ballet but originally made in 1966, had startling yet quite beautiful, newly created designs by Karl Lagerfeld. For the ladies, the classical long tutu was maintained but the designs on the bodices were black and white geometric patterns, as were the designs on the jackets and vests worn by the men. Choreographically, the style was clearly classical with groupings occasionally reminding me of those in Les Sylphides, especially in the third movement. There were some very lyrical, swooning lifts in the second movement, in which the colour scheme was pink and black, and some strong male dancing throughout. The final movement, however, came as a shock, albeit a pleasant and probably very Balanchinian one. The ladies continued to dance in pointe shoes but the men were in boots and the movement was in a rousing Hungarian peasant style.

The Stravinsky Violin Concerto, on the other hand, was one of Balanchine’s black and white ballets and showed him in his ‘show pony’ style where dancers bounced through every movement with individuality, even when strong unified movement was required (and given).

Artists of Paris Opera Ballet in 'Violin concerto', 2016: Photo: Sebastien Mathe/Opera national de Pari — Artists of Paris Opera Ballet in *Violin Concerto*, 2016. Photo: © Sébastien Mathé/Opéra national de Paris

For me, the standout dancer in this work, and in fact in the entire program, was Hugo Marchand who partnered Amandine Albisson in the ‘Aria 1’ section. His own dancing showed great technical skills and his partnering displayed beautiful interaction with Albisson. I also loved his proud carriage of the body and particularly the way his body occupied the space around it—a very unusual quality possessed by very few.

Violin Concerto was given a remarkable performance and, while I’m not sure whether I was imagining this or not, I kept hearing brass instruments situated outside the orchestra pit. Surround sound? But wherever the brass instruments were, the sound from the orchestra of the Opéra national de Paris conducted by Kevin Rhodes was spectacular.

Michelle Potter, 10 November 2016

Featured image: Artists of the Paris Opera Ballet in Brahms-Schönberg Quartet, 2016. Photo: © Sébastien Mathé/Opéra national de Paris

For my Australian and New Zealand readers, sadly Hannah O’Neill was not performing the night I was there.

James Batchelor in 'Smooth translation', 2016. Photo: Michelle Potter

Smooth translation. James Batchelor

5 November 2016, National Portrait Gallery, Canberra

James Batchelor never ceases to surprise with his new choreographies. Smooth translation, commissioned by the National Portrait Gallery and performed by Batchelor and visual artist and designer Madeline Beckett, was no exception. And, as is usual, it was only later that the thought behind the work became clear to me—or, perhaps better stated, that I was able to make a personal interpretation of the work.

Smooth translation began with a pile of bean bag-like items piled in a heap in a corner of Gordon Darling Hall at Canberra’s National Portrait Gallery. Slowly, from underneath the pile, human hands began to emerge, then legs and finally two bodies.

The bodies (now clearly Batchelor and Beckett) proceeded to manipulate the bean bags in various ways.

There was one moment, too, when the two performers left the bean bags and strode purposefully out of the performing space via the exit doors and onto the paved entrance area. They kept going, to the surprise of the audience, who wondered whether the show was in fact over. Well it wasn’t, and on reaching the end of the entrance plaza they turned around and, just as purposefully, marched back into Gordon Darling Hall.

Later they carefully emptied pebbles out of small bags onto a long sheet of clear plastic.

And so it went on with a series of mysterious but absorbing actions.

So what was Smooth translation about? In his notes, Batchelor acknowledges the British sculptor Barbara Hepworth as inspiration and remarks that the work ‘examines carving as an entry point to the interiority of matter. It is a choreography of sculpting, building and forming a landscape, a moment of translation from one body to another.’ As has so often happened for me when I encounter Batchelor’s work, I wondered what the words meant and how the actions related to those words. But after a while thoughts came crowding in. I loved the idea that a a work of art, and the ideas for such a work, were emerging in the opening scene. I loved the thoughtful traversing of the room by the two performers, while lying back in the bean bags as if pondering how to develop the work. I loved those moments when Batchelor and Beckett seemed to be measuring the space and objects in Gordon Darling Hall as if deciding on how large the work in progress should be. I loved the exit from the performing space as if they had decided it was all too hard, only to return to complete it. And so on.

There is not doubt that Batchelor has a deeply intellectual approach to choreography. And such an approach may not be to everyone’s liking especially when it isn’t immediately apparent what is going on! But personally I love being able to ponder and Batchelor always gives me the opportunity to do so. His work allows the construction of a narrative around the choreography, whether or not such as narrative was the intention of the choreographer or not.

Michelle Potter, 6 November 2016

Featured image: James Batchelor moves around Gordon Darling Hall in Smooth translation

All photos: © Michelle Potter

James Batchelor in 'Smooth translation', 2016

Scene from QL2's 'EAT', 2016. Photo: © Lorna Sim

Dance diary. October 2016

EAT

Canberra’s youth dance organisation, QL2 Dance, runs an annual project for younger dancers in Canberra and beyond. This year, with a program called EAT, the theme was food, including marketing issues associated with what we eat.

For various reasons, I looked with different eyes this year and was impressed with how the choreographers, all professionals working with contemporary dance, handled the situation. With technical capacity varying so much between the dancers (they ranged in age from 8 to 18), it was illuminating to see the theatrical concepts that were being taught to these young people—how to make entrances and exits, how to occupy the performing space, how to be in line and so on. In fact, young people in Canberra are lucky to have the opportunities that QL2 offers. May it continue.

The Royal Ballet’s Australian tour, 2017

The Royal Ballet will tour to Australia (Brisbane only as part of QPAC’s International Series) in June and July 2017 with a contemporary repertoire of Woolf Works from Wayne McGregor and The Winter’s Tale from Christopher Wheeldon.

The Royal last visited Australia in June 2002 when Ross Stretton was the company’s artistic director. They brought Swan Lake, Giselle, and a mixed bill comprising Tryst, Marguerite and Armand and The Leaves are Fading. For that tour I wrote a piece for DanceTabs (sadly a link is no longer available) subtitled ‘Some personal reflections on the recent Royal Ballet tour to Sydney…’. Here is what I wrote as a conclusion:

The highlights

To die for: Alina Cojocaru’s double attitude turns in Giselle. So turned out, so light, so controlled. Divine.

Partnership of the season: Alina Cojacaru and Johan Kobborg in Giselle and Leaves. This partnership looks good physically and Cojocaru draws out a tenderness in Kobborg that adds an emotional dimension to the technical strength of the partnership.

Favourite moment: Belinda Hatley giving an audible whoop of excitement before launching into a joyous, absolutely irresistible Neapolitan dance in Swan Lake.

Australian moment: Leanne Benjamin’s deliciously playful but very mature interpretation of the central pas de deux in Leaves.

Non-dancing moment: The backcloth/lighting in Tryst, which had the dramatic and expressive qualities of a Mark Rothko painting.

Most annoying comment: ‘Darcey Bussell fell over in the fouettes in Swan Lake on opening night.’ (What happened was that she turned 27 or 28, went for a big finish, did a triple pirouette, had too much momentum but couldn’t go for four, finished slightly off balance and ended the sequence with a bit of a hop as she put her back foot down). But what attack! She was ferocious.

Favourite comment: ‘I had the two best cries I’ve had for years.’ (On the Cojacaru/Kobborg Giselle).

Disappointment: Neither Jonathan Cope nor Massimo Murru as Armand could match Sylvie Guillem’s Marguerite.

Dancer to watch: Corps de ballet dance Lauren Cuthbertson who made her presence felt in a soloist role in Tryst.

What an astonishing season that was! But recent viewings of the Royal in London suggest we can expect something spectacular this time too. In the meantime, I found the two images below from Les Patineurs. They are from a much earlier visit from a touring arm of the company, when the company was, in fact, in a state of flux (which I won’t go into now)!

Scene from 'Les Patineurs', Royal Ballet, melbourne 1958. Photo: Walter Stringer/National Library of Australia — Royal Ballet tour, Melbourne 1958, *Les patineurs*. Photos: Walter Stringer. National Library of Australia

Michelle Potter, 31 October 2016

Featured image: Scene from EAT, QL2 Dance. Photo: © Lorna Sim

Scene from 'Anima', Sydney Dance Company, 2016. Photo: © Pedro Greig

Untamed. Sydney Dance Company

19 October 2016. Roslyn Packer Theatre, Walsh Bay, Sydney

The latest program from Sydney Dance Company—a double bill with the title Untamed—showed once again what a high energy, physically accomplished company Sydney Dance is. Gabrielle Nankivell’s Wildebeest opened the evening and opened it in an extraordinary manner with a solo from Bernhard Knauer. ‘The wildebeest as image morphs easily between living animal and fanciful creature’ writes choreographer Nankivell in her program note and Knauer was given movements that were eccentric, idiosyncratic, half human, half beast. The wildebeest was never quite sure of his true nature (or her nature as the case may be since Knauer alternates in the role with Juliette Barton). But the animal struggles to be born into the world with a shudder and a shake and often a kind of liquid movement within those animal limbs.

From the opening solo the work proceeds through a series of further solos, duets, trios and quartets and, against the pack-like, wild and wilful movements, a certain vulnerability creeps in at times when small, intricate movements of the head, hands, fingers and other extremities of the body become visible. Then there are sections where the entire cast moves in a mechanical fashion, like clockwork. And yet, within these sections, we often see a single dancer moving erratically through the order like a misfit in an ordered world. A powerful duet from Todd Sutherland and Holly Doyle had antagonistic overtones while Janessa Dufty stood out throughout the work, especially in her closing solo.

For better or worse we have become accustomed to dark lighting of contemporary dance these days but, for once, Wildebeest’s gloomy lighting (by Benjamin Cisterne), which was punctuated by sudden, sharp, completely unexpected flashes of brightness, was appropriate to the theme of the work. I was lucky, however, to be sitting quite close to the action so I’m not sure how the gloom looked from further back. A soundscape by Luke Smiles rode beautifully with the action. Its sounds were often as startling and unexpected as the movement but, like the lighting, totally appropriate for the nature of the work. Smiles and Nankivell have been working together for several years now and their understanding of each other’s work was clearly evident. I admired Fiona Holley’s simple, easy-flowing, red earth coloured costumes.

Scene from 'Wildebeest', Sydney Dance Company, 2016. Photo: © Pedro Greig — Scene from *Wildebeest*, Sydney Dance Company, 2016. Photo: © Pedro Greig

After the extremes and idiosyncracies of Wildebeest, the second work on the program, Rafael Bonachela’s new work, Anima, had something of a romantic feel to it. True, its choreography was highly physical and without a narrative line in the manner we have come to expect from Bonachela. But along with the extended limbs, the partnering involving turning, twisting bodies being flung about, and the fast and thrilling movement around the stage, there were moments that were thoughtful in nature, when a humanistic approach seemed to surface.

Anima opened strongly with a duet between Juliette Barton and Izzac Carroll, which in particular showed off Barton’s delicious, long-limbed extensions and her absolute control of every movement. But at the heart of Anima is a male duet, long and intimate, although punctuated by occasional tension, between Cass Mortimer Eipper and Petros Treklis. The male duet has become something of a signature element for Bonachela and this one, which required huge stamina and body strength from Eipper and Treklis, was filled with exceptional moments when we had to ponder at the nature of the relationship between the two protagonists.

Group sections broke up the focus on duets, trios and quartets and Sydney Dance Company dancers have a remarkable facility for unison dancing, which always surprises me given the speed at which the dancers are usually asked to move in such sections and the individual qualities Bonachela’s dancers always display in their work. Bonachela’s group sections give me a shiver of excitement.

Lighting for Anima was also by Cisterne and several sections were lit red. Sometimes we also saw abstracted, coloured shapes dancing across the back screen. I’m not sure that these coloured lighting effects offered anything additional to Anima and I would have preferred the more ordered (or less colourful and fanciful) approach that usually marks Cisterne’s designs. There was enough emotion generated by the music from Bulgarian-born, London-based Dobrinka Tabakova, and from Bonachela’s intuitive response to this music, Insight for string trio, created by Tabakova in 2002. Aleisa Jelbart’s white/grey costumes occasionally looked too much like underwear for my liking, but luckily there was so much else to focus on that they didn’t detract too much from the overall experience.

Anima was greeted with tumultuous applause. People stood, a few left their seats and rushed towards the stage, while the dancers taking their bows could not hide their pleasure at this response. But of the two works Wildebeest was, for me, the more thrilling, more creative, more satisfying work.

Michelle Potter, 23 October 2016

Featured image: Scene from Anima, Sydney Dance Company, 2016. Photo: © Pedro Greig

This review was originally published on DanceTabs at this link.

Those who were lucky enough to see this show on opening night were, I feel sure, taken by the colourful T-shirt worn by Bonachela as he took a curtain call with his collaborators. The message on it read: Say ‘I do’ Down Under.

(l-r) Julia Cotton, Patrick-Harding-Irmer, Elle Cahill and Ance Frankenhaueser in 'Quartet for David', 2016.

Dances for David. National Portrait Gallery

15 October 2016. National Portrait Gallery, Canberra

The National Portrait Gallery is currently showing a number of images from its performing arts collection—mainly images of dancers but also musicians and designers. Along with Jenny Sages’ wonderful image of Irina Baronova ‘passing on the torch’ to an unknown (seen from the back only) young dancer, there are images of Steven Heathcote, Graeme Murphy, Meryl Tankard, Russell Page, Stephen Page, Marilyn Rowe (not the Gallery’s best acquisition I have to say), Kenneth Rowell, Sidney Nolan, Peter Sculthorpe, and others. They are there to support a new acquisition, a photographic portrait of artistic director of the Australian Ballet, David McAllister, by Peter Brew-Bevan.

National Portrait Gallery performing arts images — National Portrait Gallery, Canberra. A selection of performing arts images on display, October 2016

Portrait of David McAllister by David Brew-Bevan, National Portrait Gallery, Canberra — Portrait of David McAllister by Peter Brew-Bevan, National Portrait Gallery, Canberra

And as has been happening with a certain frequency recently, the National Portrait Gallery commissioned four dancers, Elle Cahill, Julia Cotton, Anca Frankenhaeuser, and Patrick Harding-Irmer, to present a short program of dances to celebrate the acquisition. There were four dances in all: Solo from steppingstone by Patrick Harding-Irmer, Duet for David by Julia Cotton and Elle Cahill, Ebba by Anca Frankenhaeuser, and Quartet for David by all four dancers. All dances had a certain technical simplicity to them, which is not to deny their appropriateness for the occasion.

Two of the pieces, those featuring Harding-Irmer, seemed to refer specifically to McAllister. The duet from Cotton and Cahill seemed to be more of a dedication to the art that McAllister has promoted throughout his career, while the connection that Frankenhaeuser’s quite beautiful but mysterious solo with a hanging garment had to McAllister wasn’t all that clear to me.

Harding-Irmer’s Solo was a work of poses. Some were quite a simple ballet positions—first position of the feet, fifth positions of the arms. for example. We all start our careers learning the basics. As the piece progressed the poses became more introspective but always searchingly so. And Harding-Irmer, impeccably dressed in suit and tie (although he did remove the coat at one stage), suggested that a dancer’s life moves more and more into a complexity of thought.

Patrick Harding-Irmer in Solo from steppingstones, National Portrait Gallery, 2016 — (left) Patrick Harding-Irmer in *Solo* from *stepping stones*; (right) Anca Frankenhaeuser in Ebba.

Anca Frankenhaueser in Ebba, National Portrait Gallery, 2016 — (left) Patrick Harding-Irmer in *Solo* from *stepping stones*; (right) Anca Frankenhaeuser in Ebba.

Duet for David was the most balletic of the dances and in many respects it reminded me of the Jenny Sages portrait of Baronova ‘passing on the baton’. Cahill’s youth in relation to Cotton (and Harding-Irmer and Frankenhaeuser) was clear and, as Cahill and Cotton danced together, they seemed to change places in the performing space. There was a lovely entrance by Cahill followed by a quiet arrival from Cotton, who then seemed to take the dominant position. But as they circled each other, dancing simple but fluid and attractive steps in differing spatial patterns, Cahill came to the fore, as if representing the future of classical dance.

Julia Cotton and Elle Cahill in Duet for David, National Portrait Gallery, 2016 — Julia Cotton and Elle Cahill in *Duet for David*, National Portrait Gallery, 2016.

But if Duet for David was the most balletic in a technical sense, the closing piece, Quartet for David, was filled poses (again) that recalled the manner of McAllister in the classroom or rehearsal process, along with references to ballets with which McAllister might be identified. From Swan Lake, for example, we had a reference to the linked arms of the Four Little Swans and from The Sleeping Beauty there was a nod to the Rose Adagio. And the final moment saw Harding-Irmer taking the very pose McAllister takes in the Brew-Bevan portrait.

Finale, Dances for David, National Portrait Gallery, 2016 — Finale from *Quartet for David*, National Portrait Gallery, 2016. Back row (l-r) Julia Cotton, Patrick Harding-Irmer and Anca Frankenhaeuser; in front Elle Cahill

What was especially attractive about this show was the element of time that it encompassed—time past, time present, and time future all seemed to have a place. But I wish I knew more about Frankenhaeuser’s Ebba. For the first time in my experience with these Portrait Gallery shows there was a mini printed program, which listed the names of the works and the creatives behind them—a welcome initiative. I am dead against judging a work according to the artist’s intention, but I would have liked a bit more information. A search online didn’t help all that much.

Dance in Canberra is flourishing as a result of this kind of show. And it is refreshingly ‘underground’ in the sense that it doesn’t rely on the fads and puffery of popular mainstream organisations. Good, honest dance with something to say.

Michelle Potter, 17 October 2016

Featured image: (l-r) Julia Cotton, Patrick Harding-Irmer, Elle Cahill and Anca Frankenhaeuser in Quartet for David, 2016.

(l-r) Julia Cotton, Patrick-Harding-Irmer, Elle Cahill and Anca Frankenhaueser in 'Quartet for David', 2016.

All photos: © Michelle Potter

Dance diary. September 2016

Degas. A new vision

In September I had the pleasure of visiting the National Gallery of Victoria’s recent exhibition of works by Edgar Degas, entitled Degas. A new vision. I enjoyed discovering his non-dance paintings and drawings, in particular those that gave an insight into his family and social life. But I especially enjoyed some of his lesser known (to me anyway) dance works, including the two below: Little girl practising at the barre (1878–1880), although it is a shame about the turn-out being forced onto that little body, and Russian dancer (1985).

Australian Dance Awards 2016

The 2016 Australian Dance Awards were held in Perth in September and list of awardees is on the Australian Dance Awards website.

Elma Kris in 'Sheoak'. Banggara Dance Theatre, 2015. Photo: © Edward Mulvihill — Elma Kris, winner of ‘Outstanding Performance by a Female Dancer’ at the 2016 Australian Dance Awards seen here in *Sheoak* from the Bangarra Dance Theatre program *lore,* 2015. Photo: © Edward Mulvihill

National Portrait Gallery: coming soon

The National Portrait Gallery in Canberra continues to offer short dance events as part of its public programs with Dances for David scheduled for October and a work by James Batchelor coming in early November.

Dances for David—four dances reflecting moments in the career of David McAllister, artistic director of the Australian Ballet—will be performed by Anca Frankenhaeuser, Patrick Harding-Irmer, Julia Cotton and Elle Cahill. Each work is inspired by a photographic image of McAllister. Dances for David takes place on 15-16 October and 29-30 October.

In November James Batchelor will present Smooth Translation, a commission from the Portrait Gallery, which is being advertised as ‘an ode to Barbara Hepworth’. Batchelor’s works are often about process of some kind and Smooth Translation purports to be concerned with the process of sculpting a landscape. Intriguing? But then all Batchelor’s works are. Smooth Translation is on 5–6 November. (UPDATE: See this link for a review of Smooth Translation).

The Australian Ballet in 2017

The Australian Ballet, the national ballet company, once again will not be visiting Canberra, the national capital, in 2017!

Press for September 2016

‘Blood ties.’ A look at the career of Bangarra dance Luke Currie-Richardson as Bangarra heads to New York and Paris. The Canberra Times—Panorama, 17 September 2016, pp. 8–9. Online version.

Michelle Potter, 30 September 2016

Featured image: Degas, Theatre box (detail), 1888

Wiggle Room. Alison Plevey & Solco Acro

29 September 2016, Ralph Wilson Theatre, Gorman Arts Centre, Canberra

Wiggle Room? The name arouses curiosity. But on arriving at the Ralph Wilson my heart sank. ‘This is a standing show,’ we were told. I rather like sitting down to see a show. But, as it happened, the show was a stunner and, for ageing bodies like mine, there were stools for sitting on, when that was possible given the nature of the show.

Wiggle Room was part of a new program in the ACT, Ralph Indie, named for Ralph Wilson, who died in 1994 and who was both a former principal of Canberra High School and a producer of unconventional and thought-provoking theatre shows in Canberra. Wiggle Room was performed by dancer Alison Plevey, singer Ruth O’Brien, and Cher Albrect and Deb Cleland, two artists from the Canberra-based women’s aerial dance and circus arts group, Solco Acro. Like Wilson’s shows, Wiggle Room was also unconventional and thought-provoking.

The work was inspired by and named after an essay by Sara Ahmed and examined the politics of space. Who can occupy a certain space? Who must move aside to let another take up the space? And this explains the need for it to be a ‘standing show’. The entire space of Ralph Wilson Theatre was used by the performers and for those of us sitting on stools, and indeed those standing around the edges of the space, there was the need on occasions to move so that the performers could occupy the space we were inhabiting. No such thing as a designated aisle and seat number.

Some of the movement happened on swinging hoops, or with the performers twisting themselves around lengths of red cloth hanging from the ceiling. Some took place against the walls with the performers attached to a kind of harness. There were moments when bikes were driven at break-neck speed around the space. Even the usual seating in the Ralph Wilson Theatre had been folded back and this fold-back space used by the performers.

The work was, however, more than simply about space. The notion of the politics of space came over loud and clear, on the one hand through spoken word and song, and on the other by the interpretations of the words by the performers. There were feminist references, references to workplace issues, and issues about personal space, for example.

But what made Wiggle Room a work to be reckoned with was the way in which these issues surrounding the politics of space were addressed in such an engaging and often hilarious way. It was so easy to recognise the situations presented to us, it was so easy and pleasurable to laugh at what was happening. And yet there was always the lingering knowledge of a political message.

Perhaps my favourite moment came when the three performers found themselves together in the confined space of a slip-off mattress cover made from flimsy material—shades of Martha Graham’s Lamentation, without the 1930s seriousness. I have to admit to thinking ‘Eat your heart out, Martha.’ This was so much more enjoyable.

All in all a funny, strangely serious, and rather remarkable evening.

Michelle Potter, 30 September 2016

Featured image: Scene from Wiggle Room.

Gabriel Comerford, Eliza Sanders and Dean Cross in 'Other Moments'. QL2, 2016. Photo Lorna Sim

Other Moments. Quantum Leap

18 September 2016, National Portrait Gallery, Canberra

Canberra’s National Portrait Gallery continues to commission short dance works as public program events associated with its exhibitions. Other moments, made in response to a photographic exhibition, Tough and tender, was given twelve performances on two successive weekends by dancers from QL2—Gabriel Comerford, Dean Cross and Eliza Sanders. The portraits on display in Tough and tender revealed young people, often in intimate settings or situations, tough on the outside (mostly) but often appearing to be quite vulnerable. The dance work set out to suggest moments before and after the single moment captured by a photograph.

The choreography, by Ruth Osborne (in collaboration with the dancers), and the performance itself captured a beautiful range of emotions, from tough to tender as was appropriate, but also sometimes amusing and often intense. With its range of solos, duets and trios, and its variety of costuming, it also highlighted different kinds of interpersonal connection.

dean-cross-and-eliza-sanders — Dean Cross and Eliza Sanders in *Other moments*. QL2, 2016.

Gabriel Comerford in 'Other moments'. QL2, 2016. Photo: Lorna Sim — (left) Gabriel Comerford and (right) Eliza Sanders in Other Moments, QL2, 2016

Dean Cross and Eliza Sanders in 'Other moments'. QL2, 2016. Photo: Lorna Sim — (left) Gabriel Comerford and (right) Eliza Sanders in Other Moments, QL2, 2016

As she did in Walking and Falling, a previous work for the National Portrait Gallery, Osborne showed her skill in working with a minimum of space and little in the way of design. A wooden bench and an array of costumes was all that she needed to make this compelling short work. And of course good dancing from three strong, versatile performers.

Gabriel Comerford in *Other Moments*. QL2, 2016.

Michelle Potter, 19 September 2016

Featured image: (l-r) Gabriel-Comerford, Eliza-Sanders-and-Dean-Cross-in-Other-Moments.-QL2-2016

Alexandre Riabko in Nijinsky, 2016. Photo: Jeff Busby

Nijinsky. The Australian Ballet (2016)

7 September 2016, State Theatre, Victorian Arts Centre, Melbourne

Alexandre Riabko, guesting with the Australian Ballet in the lead role on the opening night performance of John Neumeier’s Nijinsky, has been dancing that role since at least 2003 when Hamburg Ballet guested in Paris. He may well have danced it even earlier. At the work’s world premiere in Hamburg in 2000 he took the role of the dancer Nijinsky as Harlequin in Le Carnaval and the Spirit of the Rose in Le Spectre de la rose. Thus the ballet Nijinsky, and the role of Vaslav Nijinsky, have been part of his dancing life for more than fifteen years. And so it was not surprising, but nevertheless thrilling, that his performance throughout the ballet was exceptional. It was exceptional from his first commanding entrance and walk down the steps leading to the space where he was to dance, through to his dramatic finale, performed in the same space, albeit now an arena that contained signs of destruction, as indeed did Nijinsky’s state of mind. Riabko held the work together. It was a tour de force by a dancer who communicated with every inch of his body.

Those with whom Riabko shared the stage—characters representing Nijinsky’s family, especially his wife Romola; characters that Nijinsky danced during his career; dancers from Diaghilev’s Ballet Russe, including Tamara Karsavina and Leonide Massine; Diaghilev himself; soldiers and others representing war, against which Nijinsky was so opposed—had mixed success.

Leanne Stojmenov was a standout as Nijinsky’s sister, Bronislava Nijinska, especially in the Rite of Spring scene (of which sadly there seem to be no media images available, but see below for Stojmenov as the Young Woman in Jeux).

Leanne Stojmenov and Alexandre Riabko in Nijinsky. The Australian Ballet, 2016. Photo: © Jeff Busby

In the Rite of Spring scene, where Stojmenov played the Chosen Virgin, she danced as if there was no tomorrow, tossing her body into Neumeier’s demanding positions, flinging herself from side to side, hair in disarray. In fact this scene, with Riabko/Nijinsky standing on a chair shouting out instructions to the performers, is one of the most exciting of the evening. (To the Australian Ballet: oh please get access to the Pina Bausch Rite of Spring and put Stojmenov in the lead. She would be stunning).

I also thought that François-Eloi Lavignac was outstanding as Stanislav, Nijinsky’s brother. His small, compact but very flexible body perfectly suited Neumeier’s writhing movements. Stanislav’s death was a compelling scene.

Along with Lavignac and Stojmenov, I was also impressed by Cristano Martino as the dancer Nijinsky as the Faun in L’après-midi d’un faune, and the Golden Slave in Schéhérazade. His Golden Slave was slinky and strongly sexual. His Faun was beautifully controlled and conveyed an innate power.

Cristiano Martino as the Faun on 'Nijinsky'. The Australian Ballet, 2016. Photo: Jeff Busby — Cristiano Martino as the Faun in *Nijinsky*. The Australian Ballet, 2016. Photo: © Jeff Busby

As ever, however, I longed for so many of the others in the cast to have more artistry in their performance and, for the first time in my various encounters with this ballet, I felt as though Neumeier’s Nijinsky was too long and too slow in parts. I still get the feeling that the dancers of the Australian Ballet focus on steps, and Neumeier’s Nijinsky is not about steps. I was disappointed, for example, with Adam Bull’s portrayal of Diaghilev. Bull is an excellent dancer but I think of Diaghilev as an eccentric character and there was nothing eccentric about Bull’s interpretation. For me he was a ballet dancer pretending to be Diaghilev. Similarly with Amy Harris as Romola. I got no feeling for what kind of person she might have been.

I did enjoy the sets and costumes (concept by Neumeier) more in this viewing than previously, when I guess I was more focused on what was happening and who was who. Neumeier’s use of ‘attributes’ rather than detailed costuming to distinguish characters was aesthetically pleasing and the circles of light that occasionally appeared as part of a particular setting recalled Nijinsky’s fascinating circular drawings, some of which are part of Neumeier’s personal collection of Nijinsky memorabilia.

Alexandre Riabko in 'Nijinsky'. The Australian Ballet 2016. Photo: Jeff Busby — Alexandre Riabko in *Nijinsky*. The Australian Ballet, 2016. Photo: © Jeff Busby

Nijinsky is a thrilling work and I bow to Neumeier’s concept. But I hope that throughout the Australian Ballet season, as it continues in Melbourne, and then goes to Adelaide and Sydney, that stronger characterisations might emerge from more of the dancers.

Michelle Potter, 9 September 2016

My review of Nijinsky with Hamburg Ballet in Brisbane in 2012 is at this link.