At the end of this month, members of the dance community will come together in both Melbourne and Wellington, to honour Harry Haythorne who died in November 2014. Today Philippe Charluet, film maker extraordinaire, sent me a link to some footage he had edited. It shows Harry rehearsing for and performing in Tivoli, and it includes that wonderful tap dancing routine. We are so lucky to have Philippe caring so much about our dance heritage.
17 January 2015, Carriageworks, Eveleigh (Sydney). Sydney Festival 2015
My review of the Sydney Festival production of Inside There Falls, a collaboration between London-based artist and musician, Mira Calix, and Sydney Dance Company, has been posted on DanceTabs at this link.
In addition to the photographs published with the article, most of which were kindly supplied by the Sydney Festival, below are some I took during my visit to the installation — and yes, for once photography was allowed! They show the two dancers I saw, Sam Young-Wright and Laura Wood.
Michelle Potter, 19 January 2015
Featured image: Scene from Inside there falls, Sydney Festival 2015. Photo: Michelle Potter
When the Chitrasena Dance Company first came to Australia it was 1963. I was still a student dancer and living in Sydney. The company performed at the Elizabethan Theatre, Newtown. It hadn’t yet burnt down (that happened in 1980), and in fact I remember the startling rake on that theatre’s stage. I had never performed on a raked stage when I danced there in some Ballet Australia performances. It was somewhat confronting stepping onto that stage for the first time, especially as no one had thought to tell me in advance.
The 1960s and 1970s were heady times in Sydney and elsewhere for visits from so-called ‘ethnic’ dance companies. Along with the Sri Lankans, the Georgians came, the Mexicans (I remember in particular the Yaqui Indian Deer Dance), the Spaniards (I saw a jota for the first time) and the Mekeo dancers from Papua New Guinea. Then some time later, when I started working in various capacities at the National Library in Canberra, I discovered the photographic collection of Walter Stringer. In fact I had the pleasure of helping the Library acquire that material. He, being a Melbourne resident, had photographed most of the folkloric companies I had seen in Sydney during their visits to his home city.
It has always been a pleasure to see those companies again when, or if, they have returned to Australia. So it was with the Chitrasena company when they made their 2015 visit. Below are two of Walter Stringer’s images from the 1963 visit.
Here is the link to my review of the company’s performance in Canberra in January, written for The Canberra Times.
In its Treasures Gallery, the National Library of Australia currently has one display case devoted to a production by the Borovanksy Ballet, Les Amants eternels (The Eternal Lovers). When I looked a few days ago the display contained the notated score (Laban) for the ballet, the work of Meg Abbie Denton; a Borovansky Ballet program giving details of performers and creative personnel; a double page spread from The Australian Women’s Weekly published in the issue of 12 March 1952; and on the wall above the display case a costume design by William Constable for the character of Romeo in the ballet, and a drawing in pastel and charcoal on velvet paper by Enid Dickson of Paul Grinwis as Romeo. The Constable design is to be removed shortly (for preservation reasons) and will be replaced by photographs. The rest of the material will remain for a few more months.
Eternal Lovers display case. National Library of Australia, 2015
The Eternal Lovers was created by Grinwis, a dancer with the Borovansky Ballet in the 1950s. It received its world premiere in Melbourne in December 1951 and remained in the Borovansky Ballet repertoire until 1960. As Alan Brissenden has recorded in his and Keith Glennon’s Australia Dances:
Paul Grinwis conceived this ballet as a continuation of the story of two lovers, called for the sake of convenience Romeo and Juliet, when they awake in after-life. Its focal point is a struggle between the spirits of Love and Death, Love being finally victorious.*
At the premiere, Grinwis danced the role of Romeo, Kathleen Gorham that of Juliet, with Bruce Morrow taking the part of the Spirit of Death and Helene Ffrance the Spirit of Love. The ballet was danced to Tchaikovsky’s Romeo and Juliet Fantasy Overture.
Sadly, the National Library no longer has a dance curator. It has an extensive and wide-ranging dance collection, built up as a result, firstly, of the Esso Performing Arts and Oral History Archive Project (1988–1991); then Keep Dancing! a collaborative venture with the Australia Council, Ausdance and the National Film and Sound Archive (1997–2001); and between 2002 and early 2013 as a result of having an in-house dance curator. So it is good to see that at least a small gesture is being made to give a very tiny part of the material some visibility. The current display reveals, again in a very small way, the kinds of areas in which the dance material is held—art works, ephemera, notated scores, popular magazines are present, and photographic material is coming. The captions refer to interviews, although there is no sound capture from the interviews.
The dance collection at the National Library is incredibly rich, crosses eras and dance styles, and is supported by extensive material from other art forms and by organisational records, all held by the Library across its many formats. I can but hope that more material will be displayed, and even that eventually someone will take the trouble to add to out-dated records—at the very least a few dates of death need to be added to Trove records.
As an aside, in 2005 I had the pleasure of visiting Grinwis and his beauitful, ever-vibrant wife, Christiane Hubert, also a dancer with the Borovansky Ballet for a few years from 1954. I had hoped to record an oral history interview with Grinwis, but at the time he was not amenable to the idea. Another occasion never arose and Grinwis died about a year later in 2006. Hubert, I believe, moved back to Paris but I am not sure if she is still alive.
With Paul Grinwis and Christiane Hubert, Gent, January 2005
Michelle Potter, 10 January 2015
* Alan Brissenden and Keith Glennon, Australia Dances. Creating Australian Dance 1945–1965 (Adelaide: Wakefield Press, 2010), p. 20
My ‘best of …’ for 2014 will appear with the ‘best of …’ comments by others in the February/March edition of Dance Australia. But looking ahead to the coming year, perhaps the show I am most looking forward to (of those that have been announced so far of course) is the triple bill by the Australian Ballet that will feature Twyla Tharp’s In the Upper Room.
Looking back through my archive of reviews, here’s what I wrote in Dance Australia in 1997 when the work premiered in Australia during the first year of Ross Stretton’s directorship.
… [In the] Upper Room has relentless drive and a choreographic eclecticism that balances the old and the new, the classic and the contemporary. It frequently insists on a cross-over between styles and the rubbery, sleight-of-hand-looking movements that we associate with Tharp often suddenly slow down and take on a kind of genteel quality. Other times the refinement of the classical vocabulary is made to look less rarefied as it collapses into more loose-limbed movements or is performed in counter balance with more contemporary-style steps. And in all this, Tharp’s work never looks stylistically judgemental. Dance is dance.
Since then I have seen Upper Room performed by both Pacific Northwest Ballet and American Ballet Theatre and, quite honestly, despite the galaxy of stars in each of those companies, neither company has given me the thrill that I got from the Australian Ballet’s performances of 1997. They were addictive experiences. I kept going back. Let’s hope the Australian Ballet rises to the occasion in 2015! In the Upper Room opens in Melbourne in August in a triple bill entitled 20:21
I don’t have access to Australian Ballet photos of this work. The image below is from the Birmingham Royal Ballet’s website.
In December, I received an interesting comment on an oral history interview I recorded with Edna Busse in August 2014. It is available among many other comments, at the end of this post. The comment generates many issues associated with oral history as a research tool, most of which have been debated in conferences and the like dealing with the role and uses of oral history.
I drew on material from twenty-five National Library oral history interviews, and two radio recordings from an Adelaide program called ‘Theatreland Spotlight’ (preserved in the National Film and Sound Archive), in my recent biography of Dame Margaret Scott. I think the book would have lost a lot had I not had access to that material. Some of those whose interviews I used are now dead—Charles Boyd, Sally Gilmour, Paul Hammond, Geoffrey Ingram, Bruce Morrow, Noël Pelly, James Penberthy, Marie Rambert, Ray Powell, Kenneth Rowell, Peggy Sager, and Gailene Stock are among them—and their thoughts and recollections for the most part are not available in other formats.
None of this, however, takes away from the fact that interviewees may embroider upon their experiences, or misremember events (sometimes quite badly), which is the thrust of the comment. Using oral history as source material is beset by problems and is at its best when used judiciously and when the information is cross checked with other sources (if possible). Any source material is only as good as the historian who uses it.
I value immensely the comment on the Edna Busse interview as it comes from someone who was closely involved with the Borovansky Ballet and who has given me a contact to enable me to pursue the issue further. But it doesn’t take away from the value of the interview, just makes me ponder further on the care with which this very personal form of source material needs to be approached.
Press for December 2014 [Online links to press articles in The Canberra Times prior to mid 2015 are no longer available]
‘Professional productions too few. Michelle Potter’s top picks for 2014’. The Canberra Times, 23 December 2014, ARTS p. 6.
