Forest Song and Don Quixote. Grand Kyiv Ballet of Ukraine

11 May 2023. Glasshouse, Port Macquarie

Following on from a season in New Zealand, the Grand Kyiv Ballet of Ukraine gave the first Australian performance of its double bill, Forest Song and Don Quixote, in the New South Wales coastal city of Port Macquarie. Both works were condensed versions of evening-length ballets and, while I had no advance problems of having an engagement with a condensed version of Don Quixote, having seen that ballet multiple times around Australia and elsewhere, I wondered how I would manage with Forest Song, promoted as a Ukrainian classic making its Australian premiere. Well, I had no need to worry. Both works were accompanied by spoken interludes that filled out the storyline—an essential accompaniment to Forest Song, at least for me.

Forest Song, the ballet, was adapted from the 1911 poetic play of the same name by Ukrainian writer Lesya Ukrainka and was first staged as a ballet in the 1940s. It tells the story of a clash between humans and the spirits of the forest as exemplified by the activities of a young musician, Lukash, and his relationship first with Mavka, spirit of the forest, and then with a scheming peasant woman, Kylyna, who is pushed along in her quest for Lukash by her conniving mother.

In many respects, much of the choreography is quite static. One pose follows another without much ‘joining’ movement, and I suspect this relates back to the fact that it was created 80 or so years ago. A showy end where fouettés, and grand allegro seem there for effect rather than for any other reason similarly appears to date back some years. But a highlight was the wedding scene between the hero, Lukash, and the peasant daughter, Kylyna. It was filled with folk dancing of the kind we used to see in Australia, back in the 1960s or so, from visiting companies from the Ukraine region. It contained much clapping from bystanders and solo acts from various male cast members.

But in this wedding scene the standout performers for me were Margaryta Kuznietsova as the Mother and Veronika Stepanenko as her daughter, Kylyna. Kuznietsova maintained her characterisation so strongly throughout the scene, as did Stepanenko. It was a thrill to see their emotions so plainly exhibited and to see the physicality that they used to maintain the characterisations.

Forest Song in this Grand Kyiv Ballet production is not like any other ballet I have seen. In many respects it reminded me of an old-fashioned pantomime where overacting was always evident and where the dance segments were popped in between text and acting. But I think it is important to see this work for what it is and not wish it looked more like what we know of ballet today. For me it was entertaining and made me look back on shows I have seen in the past (and even shows in which I performed as a very much younger person).

As far as entertainment is concerned, Don Quixote, which in this case consisted of parts of the Prologue, and parts of Acts I and III, was quite fascinating. In particular it was a surprise to see such a different Gamache In this production. We usually see him, Kitri’s rich suitor, as an overdressed dandy. But with the Grand Kyiv Ballet he was an ageing man without a fancy hat and with a wig that showed a balding head—no hat, no long, curly wig, just a man with limbs that weren’t working well. He was dressed in a decorative violet nd white suit but without the lace and frills we usually see. And his acting was well-tuned enough for us to see that he was interested in Kitri. It was actually a welcome change from the overkill of the usual Gamache. As for Sancho Panza if you thought you had seen him thrown in the air by the people in the square in other productions, well think again and go and see the Grand Kyiv Ballet version of these moments. Sancho Panza is thrown so high he just about reaches the fly system.

But the absolute highlight of Don Quixote was the dancing and overall performance of Mie Nagasawa as KItri. She has such a presence onstage and she involved herself in every moment in a very personal way—never really losing the character she was portraying. And as for that moment in the Act I pas de deux where Basilio (Victor Tomashek) lifts Kitri up high and holds her there with one hand as the music pauses, I gasped because not only did he do that, he also walked backwards for several steps while holding her there.

Stepanenko as the Street Dancer and Kuznietsova as the leading Spanish dancer also impressed me (again) with their beautifully fluid upper body movements and their powerful presence.

I could probably be more critical about various technical matters, but there’s no point. I enjoyed these two works, for different reasons in each case. It was entertaining theatre such as you don’t often see and there are great reasons to go to the show, including that it supports the Ukraine community. It is an idea, however, to go without preconceived ideas of what you think ballet should be and do. Ballet can be many things. Here is the link to the dates and venues.

The evening ended with a request for the audience to stand for the singing of the Ukrainian National Anthem, an emotional ending to an unusual evening.

My visit to Port Macquarie was generously assisted by Concert Events Ltd and Lionel Midford Publicity and I was also privileged to be given a tour of the beautiful Glasshouse theatre, including its backstage area and the decorative elements that make the interior so appealing.

Michelle Potter, 12 May 2023

I have no full captions for the images, which I think come from a range of performances in different areas.

International Dance Day?

Don’t we need more than one Day?—how about a Week? New Zealand Music gets a Month. Let’s make it a Year for Dance…one day at a time.
by Jennifer Shennan

How was your International Dance Week? For me…

Day One—Saturday 29 April
I’m in Christchurch to see Woyzeck (which I’ve reviewed elsewhere on On Dancing)—a thrill to watch actors who move in such focussed ways, they could be dancers. Director Peter Falkenberg tells me later he works with Laban movement concepts for each actor’s character before they even get to the script. Aha, so that’s why these actors can dance.

Musicians in Free Theatre’s *Woyzeck*, 2023. Photo: © Sabin Holloway

That same day I meet up with three former students from New Zealand School of Dance — 1990s but I remember each of them very clearly, for different reasons, these three decades later. It’s heartening to hear their memories, and to learn about the enterprising ways they have since carved dance-related careers for themselves (dance teachers or Pilates tutors— the world needs more of both, so bravo)—but it breaks my heart to learn they are still carrying student loan debts of up to $60,000 from their student days! They don’t seem as fazed by the facts or the dollars as I am on their behalf, but I know I would feel crippled and unable to sleep, let alone work, let alone dance, if I was shouldering such a debt. It’s madness and has negative effects in several directions—e.g. a further colleague of theirs won’t come back to New Zealand on account of her loan, so grandparents don’t meet their grandchildren … another, with a young family, is back here but can’t get a mortgage to buy a house … another won’t take a job here since that would mean having to pay back the loan. Which political cynic choreographed this chaos of educational economics, this dance of death? [Of course we well remember which Minister of Education introduced the scheme, we just don’t want to speak his name. Australia manages a much better and fairer system apparently].

Those former students and I plan to set up a dance club around the Youth Centre that is soon to open in Christchurch. We’ll be offering 500 year old break dancing (that’s galliards to you—along with some pavans and brawls). All we know at this stage is that it will be free for participants and there will be live music. We can do this. Not all the youngsters will want to join in, but some of them will.

Day Two—Sunday 30 April
I spend the day in Christchurch with Ian Lochhead, dance writer and historian, and a trustee of the Russell Kerr Lecture in Ballet & Related Arts. We’re discussing suitable topics for next year’s RKL and thought we’d like to mark RNZBallet’s 70th anniversary in some meaningful way. We plan to canvas attendees widely, inviting their response to the question, ‘Which is your single standout memory of a production across the 70 years or so you’ve been watching this company? The work you recall as suiting the company uniquely and memorably?’ We’ll be intrigued to learn if our initial consensus as to which work is chosen will continue to find favour. The RKL will be a Sunday in late February 2024.

Day Three—Monday 1 May— M’Aidez.
I walk on the grass and remember May Day in history … ‘the first day of May, long celebrated with various festivities, as the crowning of the May queen, dancing around the Maypole, and, in recent years, often marked by labour parades and political demonstrations.’ There’s an interesting entry on Alastair Macaulay’s website about the maypole in Black dance history. On Youtube in Ashton’s La Fille mal Gardée a maypole is sweet and colourful but doesn’t have the urgency that outdoor rituals can offer, and seems to taper off rather than triumph at the cadence. (The late Annette Golding, a dance educator at Wellington Teachers’ College, used to mount a very spirited Maypole on her students back in the day). I spend several hours reading the titles on the spines of Ian’s very considerable dance library. I appreciate an update on the May Day gala dance event being organised by Maryanne Meachen for a performance in Palmerston North.

Day Four—Tuesday 2 May
I stay with John Cousins, composer friend, and Colleen Anstey, dancer friend, both of them tango milongueros. They had travelled to Buenos Aires for a tango festivaI a few years back but found themselves undone to learn the stories of Argentinian struggles, sufferings, deaths and disappearances. I listen to John’s very moving composition Tristeza de Corrientes with accompanying images, on the subject, and remember how no dance is isolated from the context of its community.

Cover image for *Tristeza de Corrientes* by John Cousins. Image courtesy of John Cousins

Day Five—Wednesday 3 May
I return to Wellington, to view a filmed excerpt from Mary-Jane O’Reilly’s Giselle, which she has re-named What Becomes of the Broken Hearted? I sincerely hope MJ finds funding to complete the full-length theatre version, as this is a striking and spiky wonderful contemporary re-choreographing of a classic work that departs from, yet pays respect to, the original.

Day Six—Thursday 4 May
I teach a Baroque dance lesson to a new and fired student who keeps us going at an impressive pace, and doesn’t mind appreciators watching our work. Robert Oliver, the viol player who accompanies us, is a joy to collaborate with.

I then go to Hunters & Collectors gallery for the opening of the exhibition, geist, photographs of Douglas Wright, by Tessa Ayling-Guhl, taken in 2015, but never before exhibited. They are astonishing images of this visionary dance force. Even though Douglas died in 2018, the memory of him is indelible for many. A dance performance by Björn Aslund, with Robert Oliver, is being prepared to close the exhibition.

I then go to St. James Theatre for a performance of Romeo & Juliet by Royal New Zealand Ballet, choreography by Andrea Shermoly. The role of Juliet is danced by Mayu Tanigaito who gives a beautifully tuned performance … but the real hero of the night is the conductor of New Zealand Symphony Orchestra, Hamish McKeich, who leads the orchestra through the mighty and much-loved Prokofiev score, as much drama in the music as ever on stage. Not two years ago Hamish suffered a debilitating stroke leaving him with one arm and one leg seriously affected. This annoyed him as there is much he still wants to do. Hamish conducts this mighty music using just one arm and takes his curtain call from side, not centre stage as the walking stick might slow things down. If that’s not courage then nothing is.

I am reminded of the Auckland-based Touch Compass mixed-ability dance company, founded and led for years by the gifted and intrepid Catherine Chappell. As one performance ended, curtain calls over, audience readying to leave, curtain still up on an empty stage, Catherine’s voice over, ‘Would the dancers go back and help clear the stage of the various props and set please’ … a voice replies, ‘Oh but I’ve only got one arm. ..’ Catherine replies, ’Then that’s the one to use, isn’t it.’ Indeed it is.

Day Seven—Friday 5 May
I attend the funeral of the much-loved Margaret Nielsen, pianist and champion of New Zealand composers’ work. Margaret died close to 90, ‘ready to go now as I’ve selected all the music I want at my funeral.’ Many beautiful songs later, came the excerpt from her colleague David Farquhar’s Ring Around the Moon suite—composed as incidental music for a play in 1953—the year of the Queen’s coronation, the ascent of Everest by Edmund Hillary, and the founding of New Zealand Ballet by Poul Gnatt. Harry Haythorne used this music to stage the 30th Anniversary Gala—in 1983—everyone from the Company and the School onstage, dressed in swirling blue and dancing every spirited beat. Poul entered last and strode down centre stage, purposefully stepping on the off-beat. When Edmund Hillary was asked what is the essential attribute of a leader, he replied, ‘Well, involve everyone in the team, but the Leader has to have a Plan B.’ Poul always had a Plan B.

Margaret had chosen the Waltz and the Tango from Farquhar’s music. I ask myself—What else is there?

I come home to watch the choreography of the royal procession of the Coronation, and was especially impressed by the troupe of musicians mounted on horseback, playing their instruments and guiding the horses with their ankles and heels. Look, no hands! And there were Black gospel singers who (nearly) danced inside Westminster Abbey. It’s been a while since anyone danced in that Abbey I think.

Every day is Dance Day. That was my Dance Week. How about yours?

Jennifer Shennan, 8 May 2023

Featured image: Poster for Tessa Ayling-Guhl’s exhibition of her photographs of Douglas Wright, 2023. Image courtesy of Tessa Ayling-Guhl

Shortcuts to Familiar Places. James Batchelor and collaborators

29 April 2023. Playhouse, Canberra Theatre Centre

Shortcuts to Familiar Places began a few years ago as an investigation by James Batchelor into the transmission of dance from one generation to another. Dance is an art form that has no widely practiced method of reconstruction via a score or similar written derivative, and knowledge of a movement style or a particular choreographic work is most commonly regarded as being passed on from body to body—sometimes referred to as ‘embodied transmission’. Batchelor was especially interested in his own ‘body luggage’, transmitted to him by his early dance teacher Ruth Osborne whose background had links to the work of pioneering dancer and teacher Gertrud Bodenwieser, and who had mentored Batchelor at Canberra’s QL2. The work that emerged was the above-mentioned Shortcuts to Familiar Places and the result was somewhat unexpected with its beautifully conceived melding of film footage and onstage movement. A driving, original score from Morgan Hickinbotham was played live and a changing pattern of light and dark came from lighting designer Vinny Jones.

Shortcuts began with footage of Osborne giving us an insight into the swirling movements of the arms and upper body that she absorbed via her teacher, former Bodenwieser dancer, Margaret Chapple. As the footage came to an end, Batchelor appeared onstage and began a shadowy solo that began slowly but that gathered momentum as time passed. It was fascinating to watch the movement unfold and to feel a clear connection to Osborne’s demonstration, but also to see dancing that moved away from the initial style in a very geometrically structured manner.

James Batchelor in a moment from *Shortcuts to Familiar Places*, Canberra 2023. Photo: © Lorna Sim

Batchelor left the stage at the end of the solo and more footage appeared. This time we watched as Eileen Kramer, a surviving Bodenwieser dancer (now aged 107), recalled some of the choreography she had danced during the Bodenwieser era, in particular movements from the duet Waterlilies. This she was passing on to Batchelor and filmmaker Sue Healey (neither of whom we saw on the footage but whose presence was clear to us).

An onstage duet between Batchelor and another QL2 alumna, Chloe Chignell, followed and at times recalled, quite strongly for me, the intertwining of arms that characterised Waterlilies. But again, Batchelor’s choreography didn’t stay with Kramer’s recollections but moved on in a new direction using the Waterlilies movements as a starting point. That Batchelor named the duet Bodenwieser Remixed gives a clue to what was occurring and in fact probably encapsulates Batchelor’s whole process with Shortcuts. But that aside, the duet showed a truly exquisite dancerly connection between Batchelor and Chignell.

James Batchelor and Chloe Chignell in a moment from *Shortcuts to Familiar Places*, Canberra 2023. Photo: © Lorna Sim

The final piece of footage was an exceptional mix of different snippets of film including some relating to Osborne; some to Carol Brown, former student of Bodenwieser dancer Shona Dunlop MacTavish; and, briefly in archival footage, some to MacTavish herself, with Batchelor and Chignell reacting to the footage. In one amazing moment, Osborne on film stretched her arm forward in a straight line towards Batchelor and Chignell on the stage as if reaching to them in a gesture of transmission, which they accepted with arms outstretched towards the footage. There it was, the lineage for us all to see.

Ruth Osborne with James Batchelor and Chloe Chignell in a moment from *Shortcuts to Familiar Places*, Canberra 2023. Photo: © Lorna Sim

The duet that Batchelor and Chignell continued as the last section of footage faded was linked choreographically with the previous one, at least at first in terms of the connection that was set up between the two dancers. But gradually Hickinbotham’s score got stronger and more urgent, and the gentleness of the choreography gathered strength and speed. There was, throughout this last duet, a link back to Bodenwieser, I believe, as much of the movement seemed to be moving in a figure-of-eight pattern, which Osborne had mentioned in her early demonstration of the Bodenwieser technique. But the duet moved faster and faster with little skips and jumps inserted. Then it came to a sudden end with a blackout. When the lights went up, we saw how Batchelor and Chignell had gone all out, dancing on and on until pretty much exhausted, to give us a modern perspective on the transmission they had been examining.

Shortcuts to Familiar Places, which includes dramaturgy by Bek Berger, was an intelligently thought through show and just brilliant to watch and consider.

Michelle Potter, 1 May 2023

Featured image: James Batchelor and Chloe Chignell in a moment from Shortcuts to Familiar Places, Canberra 2023. Photo: © Lorna Sim

Dance diary. April 2023

International Dance Day, 2023

Every year a message from an outstanding dance artist is circulated throughout the world by the International Theatre Institute and the World Dance Alliance. In 2023 those organisations have chosen dancer and choreographer YANG Liping from China to write this annual message. YANG Liping is a member of the Bai ethnic group from Dali, Yunnan Province. She is a National First-class Dancer and the Vice Chairperson of China Dancers Association. YANG Liping’s message is available to read at this link.

In the ACT International Dance Day was celebrated with a gathering hosted by Ausdance ACT. The event featured a speech from the ACT’s Minister for the Arts, Tara Cheyne, and performances by Grace Peng, with a brief appearance by Elizabeth Cameron Dalman, and by the multi-cultural youth group, Passion and Purpose.

Elizabeth Dalman and Grace Peng at the International Dance Day celebration. Canberra 2023

Clanship. Stephen Page

Stephen Page gave the 2023 Andrew Sayers Lecture, which he called Clanship, at the National Portrait Gallery on 27 April 2023. The lecture included information on, stories about, and photographs of his extended family, as well as information about the works he made over a thirty-year period as artistic director of Bangarra Dance Theatre. Page was hugely popular with the audience and the more they laughed and clapped the more he responded in a theatrical way!

Stephen Page, 2021 Photo Daniel Boud — Stephen Page, 2021. Photo: © Daniel Boud

Page was welcomed by the new director of the National Portrait Gallery, Bree Pickering. Pickering was appointed to the position in February 2023 and, hopefully, will continue to offer dance performances in conjunction with exhibitions (as has happened frequently in the past).

.Pierre Lacotte (1932-2023)

I was sorry to hear of the recent death of Pierre Lacotte, French dancer, choreographer and director. It sent me back to my collection of programs for productions by the Paris Opera Ballet, specifically to that for Paquita, which I saw in Paris back in 2002, a full-length production that Lacotte restaged (as far as was possible) from the original production of 1846. The program gives a fascinating account of the history of Paquita, which is most commonly seen, including in Australia, in an abbreviated version of Act III only. While I have to admit I did not find the full-length production immensely appealing, I was lucky to have seen it as a complete work.

An obituary by Laura Capelle, as published in the Financial Times, is at this link. Unfortunately, like most of the obituaries I accessed, this one probably requires payment to read. I’ll keep looking for others that are free and that make worthwhile reading.

Lucy Guerin

News from Lucy Guerin Inc is that the company will be appearing at the Venice Biennnale in a program curated by Wayne McGregor. Lucy Guerin Inc will be presenting PENDULUM (commissioned by RISING) and Split alongside a suite of other programming activities including artist talks, film screening, and a masterclass with Guerin. Other dance artists/companies who will be presenting include Simone Forte, Tao Dance Theater, Rachid Ouramdane, Xie Xin, Michael Keegan-Dolan, Oona Doherty, Acosta Danza, and William Forsythe.

A terrific opportunity for Lucy Guerin Inc.

Michelle Potter, 30 April 2023

Featured image: Promotional image for International Dance Day 2023. Photo credit: Yunnan Yang Liping, Art & Culture Company

Woyzeck. Free Theatre

27 and 28 April 2023. The Pump House, Christchurch
A musical by Tom Waits & Kathleen Brennan
reviewed by Jennifer Shennan

Peter Falkenberg’s name is synonymous with Free Theatre, an experimental and alternative theatre enterprise formed in Christchurch in the late 1970s and surviving/thriving these 44 years, earthquakes notwithstanding. That’s remarkable longevity.

Woyzeck, with composition by Tom Waits, lyrics by Kathleen Brennan and original direction by Robert Wilson, is here directed and adapted by Falkenberg. A program note on the venue: ‘Built in the 1870s to pump sewerage around the city of Christchurch, The Pump House is the perfect place for Free Theatre to deliver our latest project.’ That’s the dark echo to Tom Waits’ line ‘If there’s one thing you can say about mankind there’s nothing kind about man.’ So onto and into Woyzeck and its ‘dark carnival’ of the tale of a brutalised soldier turned murderer.

I’ve been hooked into Tom Waits since I first heard him sing Gavin Bryars’ Jesus Blood, so it was an easy decision to book a flight from Wellington to see this show. The Pump House is a remarkable brick space with a vast high stud so we’re sitting wrapped in our overcoats, in the round, expecting something less than conventional, or do I mean more?

There’s an echo to 1830s Berlin, to the original play by Georg Büchner (who wrote it aged 23 but died of typhoid before seeing a production). Berg, Herzog, Waits and Brennan and many others have had a go at it since, but there won’t be many productions to outshine this one. The cast brims with actors who can really sing, singers who can really dance, dancers who can really act, and none of them is clone to the others. (How refreshing. That doesn’t happen often in my town). The throbbing band onstage—sax, bass, guitar and drums ̶ provides the transport and are terrific. The audience come to feel in the cast.

The title role of the soldier is played by female, Hester Ullyart, who gives it a palpable androgynous presence. Hillary Moulder as Marie, his/her partner, is a tango tiger in many scenes, but their tender songs to the little cradled baby are almost unbearably poignant. Marie dances as though there’s no evil in the world. I am undone.

Hillary Moulder as Marie in Free Theatre’s *Woyzeck*, 2023. Photo: © Sabin Holloway

The Carnival Barker/Drum Major, played with much gusto by Aaron Boyce, keeps the show wheel turning and calls up the audience participation, ‘Row everybody row every, body row…‘ . Tom Trevella is Andres and you can only hope there’s a recording of his singing Diamond in Your Mind and It’s Just The Way We Are Boys to send to Tom Waits who I imagine would be very pleased to hear it. Chris Carrow is Monkey/Horse/Captain—the fool at loose in the crowd, and Greta Bond plays Margret with aplomb. The cynical role of the manic Doctor is given astonishing force by Marian McCurdy. The massive set, lighting and design by Stuart Lloyd-Harris, and meticulous costume and make-up by Jenny Ritchie, are pivotal to the whole phenomenon.

Aaron Boyce as the Drum Major and Hester Ullyart as Woyzeck in Free Theatre’s Woyzeck, 2023. Photo: © Sabin Holloway

I’m still raw from Anzac Day earlier this week when I heard 99-year-old stories never told before, with children’s books about war newly brought to our attention, and children’s books about peace being taken to orphaned children in Ukraine. Christchurch is a city still mourning Andrew Bagshaw, pacifist and volunteer killed in Ukraine earlier this year. I’m going back to Woyzeck for a second draught tonight, keeping a Diamond in My Mind, and hoping that All the World Is Green while I search for the fragments of kindness among humankind.

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Promotional image for Free Theatre’s *Woyzeck* featuring Hester Ullyart as Woyzeck. Image: © Stuart Lloyd-Harris

On my second visit I found many fragments of kindness among the cast and crew who are as committed to the Free Theatre enterprise as folk were in the old-fashioned days of Theatre Action and Red Mole. Bring back the fashion I say, the country needs it. I’d have thought Auckland Arts Festival would snap up this Woyzeck—and The Pump House would be a perfect venue for a return season of the choreomaniacs in Lucy Marinkovich’s Strasbourg 1518.

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(Highly recommended is the documentary̶ Free Theatre: The 37 Year Experiment made by Shirley Horrocks in 2017—available on YouTube).

Jennifer Shennan, 30 April 2023

Featured image: Marian McCurdy as the Doctor and Hester Ullyart as Woyzeck in Free Theatre’s Woyzeck, 2023. Photo: © Sabin Holloway