Philip Piggin conducting a class. Photo Lorna Sim

Talking to Philip Piggin

Back in 2017 I spoke to Philip Piggin, then working as Creative Program Officer at Belconnen Arts Centre in Canberra, and at the time a recipient of an honour from People Dancing, a major community dance organisation based in Britain. An article focusing on that interview appeared in The Canberra Times and is still available, at the time of posting this news item, in an online version at this link.

Since then, Piggin has moved on from Belco and is now working freelance, with particular emphasis on the program ZEST Dance for Wellbeing, as well as teaching at Canberra Dance Theatre where he also holds life membership. It was time to talk again, in particular about the ZEST program in which movement classes are designed, as the website says, ‘for adults who want to keep their body and brain active and healthy, regardless of their mobility, skill or age.’

As the image below shows, ZEST classes start sitting on a chair but there is an option to stand and I was especially interested to ask Piggin to talk a little about his interest in teaching dance to people of different abilities. He spoke eloquently and enthusiastically about this aspect of his work:

A class in the ZEST program. Photo: © Art Atelier

Teaching people of different abilities, young and not so young, has been a long-time component of my dance practice. It was ignited in my early days of dancing in the UK, and in particular with one company of deaf and hard of hearing dancers with whom I worked for several years. It was full of fun, challenge, laughter and learning.

This really opened the door to me of the power of dance to provide unique opportunities for everyone to discover the creative potential of our bodies and our imaginations. And all this while having fun with other people! I found this to be a richly rewarding, physically fascinating and joyously affirming part of my dance journey. Dance as an art-form can be accessible to everyone, and challenges and activates the brain and the body in so many different ways.

When working in regional NSW this also came to fruition when I suggested to the Department of Education Regional Arts team that as well as a dance camp for mainstream school children, how about we deliver one for children with various abilities across the Riverina? And it happened—and was so special.

I believe so strongly that everyone has the right to have access to and engage with quality arts experiences—whatever our ability, mobility, age, gender, background, etc. Excitingly, more and more artists across all art-forms are becoming aware of this, and with training are providing quality programs for all. Surely this is a reflection of an aware, developed and inclusive society that values every individual.

And he spoke a little more about teaching older adults.

My practice now focuses primarily on delivering dance to older adults—and this is certainly a growing practice across the world as many societies enjoy a longer life span. I think we are all aware of how important it is to keep exercising for our long-term health and wellbeing—and again dance offers the perfect vehicle. A fun and challenging workout for the body, the brain, our creative spirit, and all within a group of like-minded peoples. The perfect package I reckon!

So much research nowadays affirms the value of dance to healthy ageing, and I am certainly seeing this being increasingly recognised by health organisations who often fund such programs across our nation.

Our ZEST Dance for Wellbeing program, that now delivers over 12 weekly classes across Canberra, is funded by a variety of health organisations and private donors, and this is proving essential to the sustainability of the program as arts funding is increasingly challenging to access.

Over my career I have had the privilege and opportunity to teach so many different groups, on both sides of the Equator—and it provides a constant and exciting challenge to my practice, which I believe ensures I am constantly learning, evolving and expanding as an artist. It is definitely a two way exchange!

Read more about ZEST at this link where you will find a little about the history of the program (including reference to SPARK classes for people living with Dementia), as well as details of the extensive range of classes on offer. The link will also take you to brief biographies of three other teachers who work with the ZEST program—Jacqui Simmonds, Jane Ingall and Debora Di Centa.

With thanks to Philip Piggin.

Michelle Potter, 24 April 2023

Featured image: Philip Piggin conducting a class. Photo: © Lorna Sim

Australian Dance Week, 2023. Ausdance ACT

Audiences in Canberra are being offered a wide range of dance events during the week beginning 29 April. That day is International Dance Day and the week of festivities, hosted by Ausdance ACT, will officially be opened on that very day by the ACT’s Minister for the Arts, Tara Cheyne MLA. The range of events is extraordinary and highlights the growing strength of dance, both professional and community, in the city and surrounds.

As a precursor to the week, Australian Dance Party, Canberra’s professional dance company, will present Hillscape at the National Arboretum on 28 April. Hillscape, choreographed by Ashlee Bye and co-commissioned by Ausdance ACT and Canberra International Music Festival (CIMF), will feature as part of a CIMF program called Seeds of Life. Seeds of Life marks the tenth anniversary of the National Arboretum and the twenty years that have passed since the disastrous bushfire season in Canberra in 2003. Hillscape, with an original score by Dan Walker, celebrates regeneration.

Yolanda Lowatta, Pat Hayes-Cavanagh and Ashlee Bye in *Hillscape*, 2023. Photo: © Olivia Wikner

But on International Dance Day itself audiences will be able to see two of Canberra’s professional, independent dance artists in a one-off performance, Batchelor & Lea, at the Canberra Theatre. James Batchelor will present his Shortcuts to Familiar Places, a solo work that premiered recently in Europe and that focuses on Batchelor’s examination, over an extended period, of how dance styles are transferred across generations of performers. Liz Lea will reprise her outstanding production, Red. Red was first seen in Canberra in 2018. Since then the production has toured extensively overseas.

(left) James Batchelor in an early iteration of *Shortcuts to Familiar Places*, 2022. Photo: © Morgan Hickinbotham; (right) Liz Lea in a study for *Red*, 2016. Photo: © Nino Tamburri

Liz Lea in a study for a forthcoming show, 'RED'. Photo: © Nino Tamburri — (left) James Batchelor in an early iteration of *Shortcuts to Familiar Places*, 2022. Photo: © Morgan Hickinbotham; (right) Liz Lea in a study for *Red*, 2016. Photo: © Nino Tamburri

The choreography of both Batchelor and Lea will feature elsewhere during the week. Batchelor’s new work for Canberra’s mature-age dancers, the GOLDs, is Leaning Rippling, Breathing. It will be featured at the National Portrait Gallery (NPG) on 7 May as a pop-up experience in relation to the NPG’s current exhibition ‘Portrait 23: Identity’. This new, short work is accompanied by an original sound design by Morgan Hickinbotham. It will also be seen in the break between the two works on the Batchelor & Lea program.

The GOLDs in a study for *Leaning, Rippling, Breathing*, 2023. Photo: © James Batchelor/Zander Porter

Lea’s Stellar Company, a multi-arts dance company working in an inclusive, intercultural. intergenerational capacity, is presenting an online version of its earlier program, A Stellar Lineup (2022), over a 24 hour period. Check the Dance Week calendar (link below) for further details.

The focus on inclusivity by Batchelor and Lea in Leaning, Rippling, Breathing and A Stellar Lineup highlights the strength of community dance in Canberra and there are a number of community activities included during the week (see below for calendar link). One major community feature will be the free classes being offered by ZEST Dance for Wellbeing. ZEST offers a movement experience for adults who want to keep their body and brain active and healthy, regardless of their mobility, skill or age. A leading teacher for the ZEST program, and in many ways responsible for the existence of Dance for Wellbeing programs in Canberra, Philip Piggin, spoke to me about his interest in pursuing these projects stressing the importance of giving everyone a chance to experience the benefits of dance to mind and body.

ZEST Dance for Wellbeing class. Photo: © Art Atelier

Included in the Dance Week lineup are many other open classes in a variety of techniques from a variety of dance schools and organisations including a Hungarian folk dance workshop from Compagnie József Trefeli and a Bharatanatyam workshop from Vaidehi Subfamanyan. For information about classes and a number of events not mentioned in this post, see the full Dance Week calendar at this link (with apologies for non-inclusion of a number of exciting initiatives).

Michelle Potter, 19 April 2023

Giselle. Queensland Ballet

14 April 2023. Playhouse, Queensland Performing Arts Centre, Brisbane

Queensland Ballet’s current production of Giselle owes its staging to Ai-Gul Gaisina, Russian-trained dancer with a stellar career in Australia as a dancer, teacher, coach and, more recently, stager of ballets from the traditional repertoire. The first thing to say about this production, originally made for Houston Ballet in 2011, is that the narrative is strong and clear from beginning to end. This is not always the case with many productions of Giselle where emphasis is so often given to technique and its relationship to the Romantic style, rather than to making the storyline a feature. This is not to say that technique was forgotten in the Queensland Ballet production. In fact, the dancers, clearly well-rehearsed, performed beautifully in both acts. But it was a real treat to have a strong storyline in which to become immersed.

Dancers of Queensland Ballet in *Giselle*, Act I, 2023. Photo: © David Kelly

Mia Heathcote and Patricio Revé danced the leading roles of Giselle and Albrecht and presented us with some memorable moments of dancing, especially in Act II. Revé’s solos were stunning for the most part, including his 32 entrechats six as he danced to avoid death from the Wilis, while the various pas de deux between them were filled with gentle emotion.

(left) Patricio Revé as Albrecht, Act II; (right) Mia Heathcote as Giselle Act I. *Giselle*, Queensland Ballet, 2023. Photos: © David Kelly

Mia Heathcote and Patricio Revé in *Giselle* Act II. Queensland Ballet, 2023. Photo: © David Kelly

Vito Bernasconi was a standout performer as Hilarion, the forester whose love for Giselle is not returned and who unmasks Albrecht as the royal prince that he is. Bernasconi’s suspicion and anger as Act I unfolded were palpable as was his dramatic dancing in Act II as he tried, unsuccessfully, to avoid death.

Vito Bernasconi as Hilarion in *Giselle* Act II. Queensland Ballet, 2023. Photo: © David Kelly

I was also surprised by parts of the Adolphe Adam score, played by Queensland’s chamber group, Camerata, conducted by Nigel Gaynor, which opened up new insights for me. In particular I was transfixed by the introduction to Act II in which that recurring musical motif for the Wilis was juxtaposed with the ominous sound of drums spelling impending disaster.

In a not so positive note, I would have liked the characterisation of Berthe, Giselle’s mother danced by Lucy Green, to have been stronger. In my mind Berthe has to be an older woman who is not only concerned about her daughter’s health, but is also somewhat superstitious. Green’s mime scenes stating that if Giselle keeps dancing she will die were very clear. But it is not just a medical matter. The recurring Wili musical motif keeps appearing in Act I but it is not often that anyone onstage recognises those motifs. Berthe and the rural village in which Act I of the ballet is set has to be superstitious. It’s the mid 19th century. So why is Berthe always just worried from a medical point of view? I want Berthe to be concerned about the Wilis as well as the heart issues. Anyway, that’s just a gripe of mine.

I also wanted Myrthe, Queen of the Wilis in Act II (danced by Yanela Piñera), to be a stronger character. To me, in this production she didn’t seem capable of being in control of her realm, which she needs to be. She isn’t meant to be a pleasant character. I also had problems with the lighting of Act I (lighting design by Ben Hughes), which at times seemed too bright, or too strong somehow, thus making the muscle structure of some the male dancers seem unattractive.

Despite my gripes and grumbles, this was probably the most interesting staging of Giselle I have seen since the exquisite production by the Paris Opera Ballet in Sydney in 2013, and the one I will never forget from Sylvie Guillem and the Finnish National Ballet way back in 1998. The problem arises, however, that when there are many outstanding aspects to a work, as there were in the Queensland Ballet 2023 production, those bits and pieces that are not quite brilliant tend to be magnified in a critic’s mind. Nevertheless, while I stand by my criticisms, I have to add that I loved seeing this production and have nothing but praise for those who made it happen.

Michelle Potter, 15 April 2023

Featured image: Three Wilis in Giselle Act II. Queensland Ballet, 2023. Photo: © David Kelly

Another personal note (gripe):
One thing that I find particularly annoying is the way Queensland Ballet audiences applaud at what I think are inappropriate times. It means that it is sometimes impossible to hear the music that signals the next section of the dancing and sometimes that applause even comes mid-stream—that is before a specific and important section of the production is finished. It’s lovely to know that the audience appreciates the outstanding dancers of Queensland Ballet, but it seems to be getting out of control unfortunately. Please just hold back a little.

Adam Bull and Coco Mathieson in 'Aurum'. The Australian Ballet, 2018. Photo:Scene from 'Filigree and Shadow'. The Australian Ballet, 2018. Photo: © Jeff Busby

Dance diary. March 2023

Unintentionally, this month’s dance diary has a focus on retirements, resignations, the act of moving on and other activities associated with change. Dance is a moving art form.

Adam Bull retires

Adam Bull, principal with the Australian Ballet since 2008, has announced his retirement from the company at the end of June 2023. Bull has danced major roles in classical and contemporary works across the range of the Australian Ballet’s repertoire including works by Kenneth MacMillan, George Balanchine, Graeme Murphy, Christopher Wheeldon, Wayne McGregor. Jiri Kylian, David McAllister, Alice Topp and others. His final performance will be in Melbourne in June in Topp’s new work Paragon, part of the 2023 triple bill Identity.

I have admired Bull’s performances whenever I have seen him, including in roles that have occasionally had not so much dancing in them. His performance as the figure of Death in Graeme Murphy’s Romeo and Juliet stands out for example. Then, still clear in my mind is his performance with Lana Jones in Balanchine’s Ballet Imperial, which did require a lot of dancing, as did his role in Alice Topp’s Aurum! And perhaps not so well known, since it only ever had eight performances in Brisbane, was his role of the Prince in Graeme Murphy’s The Happy Prince.

His artistry has crossed boundaries and his presence will be missed. Who knows when and where we might see him again?

Adam Bull in 'The Happy Prince'. The Australian Ballet, 2020. Photo: © Jeff Busby — Adam Bull as the Prince in *The Happy Prince.* The Australian Ballet, 2020. Photo: © Jeff Busby

Here is the Adam Bull tag for this website.

Jacob Nash moves on from Bangarra

I was a little taken aback I have to say to learn that Jacob Nash, designer for Bangarra for more than ten years, is moving on. I have admired Nash’s contribution to Bangarra in many situations and in my discussion of Stephen Page’s 2015 film Spear I wrote of Nash’s contribution, ‘As in his sets for Bangarra’s live shows, Nash has brought to the film an understanding of the power of minimalism in design.’ But I also remember very clearly seeing an installation in an exhibition, Ecocentrix. Indigenous Arts, Sustainable Acts, in London in 2013, in which his contribution was not especially minimal. Nash’s work on this occasion was multi-layered and quite mysterious in its impact. Below on the left is an image of that installation, while on the right is his set design for the 2016 work Miyangan. I look forward to seeing more of Nash’s art wherever he continues to practice.

Jacob Nash installation, Ecocentrix 2013 — (left) Jacob Nash, Installation for *Ecocentrix. Indigenous Arts, Sustainable Acts*, London 2013. Courtesy Helen Gilbert; (right) Jacob Nash’s set for *Miyangan*, Bangarra Dance Theatre 2016. Photo: Michelle Potter

(left) Jacob Nash, Installation for *Ecocentrix. Indigenous Arts, Sustainable Acts*, London 2013. Courtesy Helen Gilbert; (right) Jacob Nash’s set for *Miyangan*, Bangarra Dance Theatre 2016. Photo: Michelle Potter

Here is the Jacob Nash tag for this website.

Moves afoot in Western Australia

Artistic director of West Australian Ballet, Aurelian Scannella, will leave the company at the end of 2023. Scannella has been with West Australian Ballet for ten years and has been responsible for introducing many new works as well as staging the classics. Taking his place in 2024, for what is listed as a temporary appointment, will be David McAllister currently on a temporary appointment as artistic director with Royal New Zealand Ballet in Wellington following the retirement of former director Patricia Barker.

More on Don Quixote

After watching the streaming of the 2023 staging of Don Quixote I was inspired to go back to watch again the film made in 1972. But I also went back to two oral history interviews I recorded for the National Library of Australia: one with Lucette Aldous in 1999, and one with Gailene Stock in 2012. Both Aldous and Stock talk about their experiences during the making of the film—Aldous at some length, Stock about a particular incident relating to Nureyev. Both interviews are available online and, with each one, the section of the interview relating to the film is easily accessible by keying ‘Don Quixote’ into the search box at the beginning of each interview (after accepting the conditions of the licence agreement). Happy listening. It’s worth it!

Lucette Aldous interview. Gailene Stock interview.

Rudolf Nureyev as Basilio in *Don Quixote*. 1972. Still from the film.

Lynn Seymour (1939-2023)

Canadian-born dancer, Lynn Seymour, has died in London aged 83. Seymour had an extensive career as a principal dancer with several major ballet companies. There are a number of obituaries available online and here is a link to the one I admire most, written by Jane Pritchard for The Guardian.

None of the obituaries that I have read mentions Seymour’s appearances in Australia and New Zealand during a Royal Ballet tour in 1958 and 1959 but she made her debut as Odette/Odile in Swan Lake during that tour and garnered mostly excellent reviews. My previous discussions of Seymour on this website, which relate to that tour, were written early in 2017 and have been somewhat controversial. But they continue to be accessed six years later. See this link, which also contains a link back to the controversy.

Lynn Seymour. Autograph and program image. The Royal Ballet, Melbourne 1958 — Lynn Seymour, program image and autograph. The Royal Ballet Australasian Tour, 1958

Michelle Potter, 31 March 2023

Featured image: Adam Bull and Coco Mathieson in Alice Topp’s Aurum. The Australian Ballet 2018. Photo: © Jeff Busby

Don Quixote. The Australian Ballet (2023)

This post contains two reviews of the 2023 Don Quixote. The first and longer one is of the digital screening; the second, shorter one refers, with particular reference to one dancer, to a matinee performance I saw in Sydney towards the end of the season.

Digital screening, March 2023. (Filmed live on 24 March 2023, Arts Centre, Melbourne)

This production of Don Quixote is meant to pay homage to the 1973 Australian Ballet film of the work and, in fact, has been spoken of as being ‘transposed from screen to stage’, especially with regard to the set. The early film production was choreographed by Rudolf Nureyev and was directed by Nureyev in conjunction with Robert Helpmann. Helpmann played the role of the Don, Nureyev was Basilio and Lucette Aldous danced Kitri/Dulcinea. To tell the truth I’m not sure why the ‘screen to stage’ comment was necessary as the ballet stands by itself without any pretence that it is a transposition. The 1970s film is, however, worth watching, especially now that it has been restored and remastered in high definition. It contains some exceptional performances, especially from Lucette Aldous whose performance in my opinion outshines that of Nureyev.

But to the production of 2023. I found this staging beautifully paced and full of action from every performer. Ako Kondo and Chengwu Guo as the leading characters were just brilliant, both technically and in terms of the emotional and dramatic relationship they built up between them. They also dance so well as partners with bodies and limbs moving smoothly together and with complementary line through the two bodies always obvious. Then there were those amazing moments when Guo lifted Kondo into the air and held her there with one hand (as seen in the featured image). The music paused momentarily for us to have a good look! Spectacular.

Ako Kondo and Chengwu Guo in *Don Quixote* Act I. The Australian Ballet, 2023. Photo: © Rainee Lantry

Adam Bull was an impressive Don Quixote. He had worked on a particular portrayal of the Don and maintained the behaviour of his character from beginning to end. He was eccentric but introspective and contemplative, and I got the feeling he was lost in another world, a world where windmills can be monsters and dreams can become reality in his mind. What I liked was that his character was strong but without any overplay.

Adam Bull as Don Quixote in *Don Quixote*, Prologue. The Australian Ballet, 2023. Photo: © Rainee Lantry

Amy Harris as the Street Dancer performed nicely but I would have liked a little more colour in her characterisation. Sharni Spencer as the Queen of the Dryads managed her difficult variation skilfully and Yuumi Yamada was a charming Cupid. A highlight of the last act (apart from the grand pas de deux from Kondo and Guo) was an exciting Fandango danced by sixteen, magnificently dressed dancers led by Dana Stephensen and Nathan Brook.

Ludwig Minkus’ score was played by Orchestra Victoria conducted by Charles Barker, who was, I am assuming, visiting from New York. As with other conductors whom I admire, Barker ensured that the music and the dance worked beautifully as one. Then, as part of the curtain calls the dancers moved forward and, with a simple sweep of the arm, acknowledged the orchestra. It was a perfect, dancerly, elegant acknowledgement rather than the lengthy clapping by the dancers leaning towards, almost into, the pit that we have had to get used to over the past 20 years or so from the Australian Ballet.

The streaming also featured David Hallberg and Catherine Murphy discussing various aspects of the production with some segments featuring various artists associated with the production, including backstage staff.

Michelle Potter, 28 March 2023

22 April 2023 (matinee). Joan Sutherland Theatre, Sydney Opera House

Apart from the fact that there is ‘nothing like being there’ as the saying goes, most of my comments above from watching the streamed version of the Australian Ballet’s 2023 Don Quixote apply equally to the live performance I saw towards the end of the company’s Sydney season. The Australian Ballet is, in general, dancing beautifully, even stunningly at the moment. Apart from the technical standard being high, there seems to be an inherent joy emanating from the dancers. And what’s more I don’t feel the need to complain about the production looking squashed on the Sydney Opera House stage. For some reason (perhaps the joy mentioned above?), instead of looking squashed the production looked intimate. What a thrill!

But the highlight of the afternoon came from Yuumi Yamada dancing the leading female role of Kitri/Dulcinea. She isn’t a tall dancer, but then nor was Lucette Aldous in the Nureyev/Helpmann film made in 1972. As Kitri/Dulcinea Aldous gave Nureyev a run for his money. Yamada was, similarly, a deliciously feisty Kitri in Act I and was outstanding technically throughout. It was a performance that I feel privileged to have seen. Yamada was partnered by Brett Chynoweth as Basilio.

I also admired the dancing of Lilly Maskery as Cupid in Act II. She has a good presence onstage and gave the role a characterisation that attracted the eye, as well as dancing strongly. I look forward to seeing more of her work.

Unfortunately, I have no images of the cast from this matinee performance.

Michelle Potter, 25 April 2023

Featured image: Ako Kondo and Chengwu Guo in Don Quixote, ACT I. The Australian Ballet, 2023. Photo: © Rainee Lantry

Ascent. Sydney Dance Company

My review of the premiere of Ascent, the latest triple bill program from Sydney Dance Company, has been posted on Dance Australia. See this link.

Two of the three items in the program were world premieres. The third, Antony Hamilton’s Forever & Ever, was first staged by Sydney Dance Company in 2018. One of the most interesting features of Ascent was in fact seeing Forever & Ever once more. When I reviewed it earlier on this website—see this link—it was the extraordinary costuming that stood out for me. Seeing the work again I was prepared for the costumes, and the way they changed and changed over the course of the work. So this time there were other things to look into, in particular the pounding score by Julian Hamilton, and the remarkable choreography, especially that for the closing scene and how well it reflected that score (and vice versa).

Below are images from Rafael Bonachela’s I Am-ness, which opened the program, and from Marina Mascarell’s The Shell, a Ghost, the Host and a Lyrebird, which was the middle work. They complement the images available on the Dance Australia page.

Scene from Rafael Bonachela’s *I Am-Ness*. Sydney Dance Company, 2023. Photo: © Pedro Greig

Scene from Marina Mascarell’s *The Shell, a Ghost, the Host and a Lyrebird*. Sydney Dance Company, 2023. Photo: © Pedro Greig

Michelle Potter, 13 March 2023

Featured image: Jesse Scales meets a fellow dancer in Antony Hamilton’s Forever & Ever. Sydney Dance Company, 2023. Photo: © Pedro Greig

KING. Shaun Parker & Company

4 March 2023. Everest Theatre, Seymour Centre, Sydney (in association with Sydney WorldPride Arts)

KING begins with Bulgarian singer/songwriter Ivo Dimchev walking down an aisle of the auditorium and taking his place onstage in front of the still-lowered front curtain. With a keyboard in hand he starts singing in his mesmerising voice, at times as a bass, at others as a counter-tenor. As his song ends, the curtain rises to reveal a combination set—a jungle of green growth and a mini cabaret setting represented by a chandelier. Against this background stands an all-male cast of ten dancers dressed formally in black-tie dinner suits. They are ready to dance.

The early choreography was fast-paced and extremely acrobatic, almost circus-style with overtones of street dancing. It was also quite formalised with group shapes appearing and disappearing and hands and arms forming group patterns, sometimes still and picture perfect, sometimes in motion. It’s transfixing to watch and seems to say, ‘Look, this is how men can be and behave, and how we can connect with each other. We have power’

Scene from *KING* (Ivo Dimchev in the background), 2023. Photo: © Daniel Boud

But slowly individual contacts were made amongst the group, many with obvious sexual overtones. The dancers then removed their coats, ties and shirts and began a different kind of connection with each other. The way that identity and power showed themselves in the opening scenes was slowly changing into a kind of aggression and anger, and perhaps also resentment of a kind. Dimchev continued to sing and provoke the performers.

Scene from *KING*, 2023. Photo: © Prudence Upton

Choreographically there were changes too. The men started to look progressively more animal-like, less than human at times. There were even moments when the Faun from Vaslav Nijinsky’s Afternoon of a Faun flashed across my mind. Toby Derrick and Joel Fenton, as the two main protagonists, held one’s attention. Derrick by this stage was completely nude and Fenton, who was seen as too close to Derrick for the liking of the others, were set upon until both ended up on the floor, motionless and covered with leaves from the jungle. Slowly darkness brought the show to an end.

I was interested in the audience reaction as the work unfolded. In the beginning, as we watched moments that were sometimes playful, sometimes with sexual overtones, often spectacularly physical, and often showing a certain strength in uniformity, there were chuckles of pleasure from the audience as they sat back and watched in a relaxed manner. But as the connections between the dancers began to unravel somewhat, and become more aggressive, there was silence and many of the audience leaned forward in their seats wondering (perhaps anxiously) what was going to happen next. Were they surprised? Were they expecting what occurred or not?

When I spoke to Shaun Parker earlier this year he told me that KING was about ‘a different way of thinking about sexual identity and power and how they are linked.’ KING was not by any means a hagiography of the male sex, that is there was no undue reverence to, or idolising of the male. But then perhaps nor was there any suggestion of denunciation or disapproval of the changes that slowly took place. It seems to me that Parker was presenting us with a possible view of male identity and power rather than implying any positive or negative judgement.

This was an engrossing show from Shaun Parker & Company in terms of its choreography, its performance by all ten dancers, its musical background and input from Dimchev, and its visual elements.

Michelle Potter, 5 March 2023

Hannah O’Neill, Étoile. 2023

Hannah O’Neill trained as a dancer in Japan, New Zealand and Australia, before being accepted into the Paris Opera Ballet in 2011 on a seasonal contract. After another seasonal contract in 2012, in 2013 she was offered a lifetime contract and rose through the ranks until, following a performance of George Balanchine’s Ballet Imperial in March 2023, she was promoted to the highest rank, that of étoile.

Watch O’Neill below as Myrthe in Giselle in an extract from a 2021 Paris Opera Ballet production.

Or for some brief footage that shows O’Neill in a different light, watch her in the third variation from the Kingdom of the Shades scene in La Bayadère from 2020.

And especially for my New Zealand colleagues, when O’Neill was interviewed in 2021 for the French weekly, Le Point, she said, ‘Je suis une Kiwi. Pour toujours.’ The interviewer, Brigitte Hernandez, then added, ‘Kiwi, comme le petit oiseau qui ne vole pas, cette grande beauté du ballet de l’Opéra de Paris? Eh oui! Et chaque année, avant de se présenter en tutu devant le jury du concours de hiérarchie du ballet de l’Opéra de Paris, Hannah O’Neill, visage énigmatique à la Brancusi, bras infinis, jambes sublimant les arabesques, enfilait le tee-shirt des All Blacks et exécutait un petit haka pour se porter chance.’

I had the good fortune to interview O’Neill in Paris 2012 for the National Film and Sound Archive (NFSA) as part of the Heath Ledger Project (sadly the project lasted only a couple of years). The interview appears on the catalogue of the NFSA—brief details at this link. Below are two images I took of O’Neill after the interview had been completed, one at the Pont neuf, the other in the foyer of the hotel where the interview was conducted.

Hannah O’Neill in Paris, 2012. Photos: © Michelle Potter

Further posts on O’Neill are at this link.

Michelle Potter, 5 March 2023

Featured image: Still from the Paris Opera Ballet production of Giselle, 2022 with Hannah O’Neill as Myrthe.

Dance diary. February 2023 (Russell Kerr Lecture)

This month’s dance diary focuses on just one event—the 2023 Russell Kerr Lecture in Ballet and the Related Arts held in the Long Hall, Wellington, on Sunday 26 February.

Russell Kerr Lecture 2023

The fifth Russell Kerr Lecture in Ballet and the Related Arts focused on the career of New Zealand-born dancer, Patricia Rianne. Rianne’s career has been astonishingly diverse beginning in 1959 with New Zealand Ballet, then under the direction of the company’s founder, Poul Gnatt, and continuing across the world while being interspersed with return visits to New Zealand to perform again with the national company.

Patricia Rianne as the Dowager Duchess, with Carl Myers and others, in *Swan Lake*. Royal New Zealand Ballet, 1985. Photographer not identified

This fifth Russell Kerr lecture was somewhat different from previous ones in that it was not so much a lecture as an event in which the various parts, spread over the length of the session, came together in a theatrical whole. It began with dance and music from Workbook created in the early 18th century by Kellom Tomlinson and performed on this occasion by Robert Oliver on bass viol and dancer Keith McEwing performing a Sarabande from the Tomlinson repertoire. And how many of us knew of the extent of the beats and turns that characterise this dance form—I didn’t so it was a thrill to see the dance close up. Then followed, with Rianne seated in the front row of the audience, a short biography of Rianne spoken by Jennifer Shennan with input from Anne Rowse. Throughout this spoken presentation, images of Rianne in a variety of roles were projected onto a screen giving us a clear idea of the range of companies and works in which she had appeared, and of her illustrious partners who included Peter Schaufuss, Ivan Nagy and Rudolf Nureyev.

Next up, singer Pamela Gray entertained us with a truly remarkable rendition of a Maori song E Hine (A Woman), sung a cappella (except for a moment when Gray played, briefly, a ukulele-type instrument). Riveting and very moving. Then Rianne took the floor herself and engaged in a conversation with Geordan Wilcox. This conversation was definitely a highlight, especially as Rianne explained much about her work with Russell Kerr giving those of us who did not know him personally, or work with him in any way, an insight into his methods, his choreography and his teaching and coaching skills. Very appropriate given that the lecture series honours Kerr.

Patricia Rianne and Geordan Wilcox in conversation, 2023. Photo: © Evan Li

The conversation concluded with video footage from Bliss, a work choreographed by Rianne in 1986 based on a short story by Katherine Mansfield.

Following her retirement from performing following the birth of her second child, Rianne began a new career in dance as a teacher, director and choreographer.

(left) Robert Oliver playing the bass viol for Keith McEwing’s performance of the Tomlinson Sarabande. Photo: © Evan Li, 2023; (right) Kerry-Anne Gilberd in *Bliss*. Royal New Zealand Ballet, 1986. Photographer not identified

The Russell Kerr Lecture series began with the aim of presenting five events, an aim that has now been achieved, albeit with a slight hiatus due to the COVID pandemic. It is not yet clear whether a second series, or even a single 6th session, might be presented. All five in the first series have been remarkable achievements and we can but hope that somehow the series will continue.

The series:
2018 Dr Michelle Potter on the career of designer Kristian Fredrikson.
2019 Dr Ian Lochhead on the visits to New Zealand of Russian ballet companies, 1930s and 1940s.
2020 Jennifer Shennan on the life and work of Douglas Wright
2021 Anne Rowse on the life and career of Russell Kerr
2023 Patricia Rianne (as above)

Michelle Potter, 28 February 2023

What remains. Bodytorque digital, 2023

Choreography by Tim Harbour. Danced by Kevin Jackson to a score by George Bokaris.

Kevin Jackson was a dancer with the Australian Ballet from 2003, following his graduation from the Australian Ballet School, until his retirement in 2021. What remains was created for him by Tim Harbour, also a former Australian Ballet dancer now working freelance. It was filmed in an unexpected setting—an underground carpark at the University of Melbourne.

What Remains is an intimate portrayal of the artist after their life on stage, articulating the grief of losing their connection with the audience and anxieties going into the future. This is mirrored through Kevin Jackson’s own retirement from The Australian Ballet, with his final performances cancelled due to covid lockdowns. (The Australian Ballet, Behind Ballet #296).

What remains is a short work (about 5 minutes in length) and the film created around it is preceded and followed by brief discussions between Jackson and Harbour. The choreography shows the exquisitely fluid movement that characterises Jackson’s dancing and I loved that it revealed Jackson in quite a new light for me. There was a lack of stress about his dancing that was mesmerising, perhaps partly because it wasn’t a stage production, also perhaps because of the setting where architectural aspects of the space allowed a certain freedom and were used as part of the choreography. There was one moment that especially moved me. It came almost at the end when Jackson lifted his leg into a beautifully wide attitude derrière and lifted his arms to 4th position—simple, and over in a flash. But it marked Jackson as a classical artist who managed Harbour’s particular choreographic style with skill and panache.

Kevin Jackson in scenes from Tim Harbour’s *What remains*. Photos: © Edita Knowler

The score by George Bokaris was hypnotic and moved between different moods, including a moment or two when a change in mood brought a rush of pleasure to my ears. The filming in black and white, which at times used pools of water on the floor of the carpark space as a kind of mirror, was engrossing. All in all a really beautiful, captivating production with great input from all involved in its creation.

Watch below.

Michelle Potter, 19 February 2023