February’s dance diary is all about what’s coming up in March (and later). What a thrill it is to have events scheduled with a live audience (fingers crossed of course!).
BOLD 22
Canberra’s next BOLD Festival—the third in a remarkable series inaugurated and directed by Liz Lea—was scheduled originally for 2021. In fact two attempts were made for it to take place in 2021 and both had to be cancelled. But BOLD has weathered the storm and BOLD 22 will open on 2 March with a launch at the National Film and Sound Archive. In a manner that reflects our present environment as much as anything else, BOLD 22 will be a series of events that are both in person and online. It will feature participants from across Australia and around the world. It continues to have as patron the irrepressible Elizabeth Cameron Dalman.
I will be giving a keynote talk entitled And the dance goes on … which will begin with a discussion of Melbourne Theatre Company’s 1975 production The Revenger’s Tragedy and continue with the surprising dance outcome that resulted from that production.
Redlands Museum in Cleveland, Redlands Coast Area, Queensland, will open its latest exhibition Redland to Russia—Lisa Bolte, my ballet career on 12 March. It will continue through April and May and focuses on the career of former Australian Ballet principal, Lisa Bolte, who grew up in the Redlands area. The exhibition will feature a collection of costumes and memorabilia from the Australian Ballet archive, along with footage of Lisa’s life story growing up in the Redlands, and her subsequent career on stage.
I have many great memories of Lisa’s performances over a number of years. She was a standout performer in so many ballets but I was blown away by two productions in particular, Stephen Baynes’ 1914 in which she danced the lead role of Imogen, and a totally brilliant performance as the lead in George Balanchine’s Theme and Variations. But below she is seen in the mad scene from Giselle Act I—a photo taken during a guest performance in Russia.
Learn a little more about the exhibition at this link.
The Johnston Collection
I was scheduled to give a talk in Melbourne for the Johnston Collection in 2021 but, like so many other events, it too was cancelled due to COVID restrictions. Well that talk has been rescheduled and will take place in Melbourne on 22 June. The talk is called Kristian Fredrikson. Theatre designer extraordinaire. More information and bookings at this link.
Ever since I began watching productions by Bangarra Dance Theatre (around three decades ago), the aspect of their shows that I have most admired has always been the way in which a story is told through movement. Of course I have loved the fabulous visual and musical aspects of the productions as well—costumes, sets, lighting and score have all contributed beautifully. But dance prevailed as the strongest force.
With this latest production, made jointly with Sydney Theatre Company, somehow dance didn’t prevail any longer. There was some terrific dancing for sure. It was constantly energetic and came from committed dancers. Two performers stood out in particular: the seemingly ageless Elma Kris as Wudjang (‘mother’ in Yugambeh language but with a wider meaning as spirit of Country in this case), and the relatively new artist Lillian Banks as her contemporary manifestation, Gurai. They built up a powerful relationship over the course of the show. But the strongest element in the show to my mind was the spoken and sung word, at times in English and at others in Yugambeh—the latter being the language spoken in the area that Stephen Page, choreographer of the work, recognises as the Country of his ancestry.
Wudjang—not the past was Page’s last production as artistic director of Bangarra. It began with the discovery, by workmen engaged in excavation for the construction of a dam, of ancestral bones, those of Wudjang. It then followed a journey to honour Wudjang with burial in a traditional resting place. Along the way there were scenes where the past was recollected and the present generation was encouraged to move forward with pride and resilience.
Some scenes were confronting, such as that in which one of the characters, Maren, tells of rape and her determination to make those who rape pay for their violence towards Indigenous women. Other characters expressed anger at the raising of a flag claiming territory for ‘the Royal pigsty’. Others showed Indigenous people as curious about the sheep that were being raised by the colonists.
But words and song dominated and it wasn’t always easy to hear and understand what was happening. The music by Steve Francis was played live on stage with musicians occasionally becoming a close part of the action, especially but not always violinist Veronique Serret. Befitting the confronting elements of the storyline, the music frequently sounded strident, but to my mind unnecessarily loud. Often it drowned out the words so it was not always easy to follow the story, especially when the English was highly idiomatic and the Yugambeh language was not understood by me (and I imagine most of the audience). If words are to prevail they have to be heard, and as far as the sections in Yugambeh language were concerned perhaps surtitles in translation would have helped. The major exception was provided by the singing of Elaine Crombie as Maren. She sang (in English) about resilience and survival after rape and she was just brilliant. Every word was clear and the delivery was powerful and defiant.
As ever, Jennifer Irwin’s costumes were also just brilliant and hugely diverse. They ranged from the beautiful tie-dyed dress worn by Crombie in certain sections, to the intricate clothing worn by Banks and Kris.
Wudjang —not the past ended with hope in the future as the bones discovered in the opening scene were buried in a traditional manner. But ultimately I was disappointed that the work moved between so many theatrical genres. At times it seemed operatic. At others a bit like musical theatre. I longed for dance to be more powerful, or less dominated by words that were not always comprehensible. Translation was available in the printed program but who can read a program in the dark, not to mention in attempting to do so having to miss what was happening onstage.
What a pleasure it is to be able to say that West Australian Ballet is turning 70 in 2022. It is the oldest ballet company in Australia and was founded in 1952 by the former Ballet Russes dancer Kira Abricossova Bousloff. The company gave its first performance in 1953 and turned professional when Rex Reid was appointed artistic director in 1969. Since then its directors have included Robyn Haig, Garth Welch, Barry Moreland, Ted Brandsen and Ivan Cavallari. It is currently directed by Aurélian Scanella who has now been at the helm of the company for ten years.
Unfortunately, Western Australia has very strict entry requirements at the moment and it is not an easy place to visit for those who live outside the State. The thought of missing certain parts of the 2022 program is hard to take. I am especially interested that the company is planning its own new production of Swan Lake in late 2022. It will be choreographed by Krzysztof Pastor, will have a distinct relationship to West Australian culture and society, and will incorporate Indigenous material into the production. While this Swan Lake promises to be unique, the focus on the culture of the West is also an exceptional way to honour Kira Bousloff whose early repertoire incorporated reflections on Australian life and culture.
La Nijnska. A new book by Lynn Garafola
Esteemed dance historian Lynn Garafola has recently completed a biography of Bronislava Nijinska. As the first in-depth account of the life and career of a dance artist about whom so little has been written, La Nijinska is a publication which we can anticipate with particular interest. The book is being published shortly by Oxford University Press, although its exact publication date seems to vary somewhat according to different sources. Details are on the OUP website.
And on an Australian note, Kira Bousloff, founder of West Australian Ballet as mentioned above, took classes with Nijinska and performed with her company. She talks about her experiences in an oral history conducted with her in 1990 for the National Library of Australia’s oral history program. The interview is online at this link.
BOLD Festival 2022
The much delayed BOLD Festival (originally planned for 2021) is going ahead in Canberra and online in March. See below for information from the BOLD team on the keynote addresses and the BOLD Lecture. Further information as it comes to hand.
We are thrilled to announce our three Keynote speakers and the 2022 BOLD Lecture. Talks will be in person and live-streamed on the 3rd and 4th March at the National Library of Australia. They will then be available online for 22 days.
Our opening Keynote is Eileen Kramer who, at 107 years of age, continues to create dances, stories, costumes and films, even in the midst of Covid lockdowns. Her tenacity and creativity shine through this difficult time.
In conversation with long time collaborator Sue Healey, Eileen will reveal ideas about longevity of practice and what drives her to keep creating.
Our next Keynote is the extraordinary Gary Lang speaking from the heat of Darwin about his life as a Larrakia artist.I will speak of the unique way I, as an Artistic Director and choreographer, use multi cultural dancers to tell my people’s first nations stories on the local, National and International stage through my work with the NT Dance Company. Our work reflects the rich multicultural tapestry of the Territory and collaborates with leading dance companies including most recently, NAISDA Dance College, West Australian Ballet, Northumbria University UK and MIKU Performing Arts from East Arnhem Land. ID; An indigenous man with silver hair, wearing glasses, white shirt, black trousers and turquoise wrap, sitting barefoot on a chair in a darkened theatre. Theatre lights glow dimly behind him and his left arm and leg are elegantly crossed as he looks directly at the camera.
Our closing Keynote is Dr Michelle Potter who will discuss ‘The Revenger’s Tragedy’. Revenge tragedies always have a tragic outcome, but Melbourne Theatre Company’s 1975 production of the Jacobean play ‘The Revenger’s Tragedy’ had a surprising and very positive outcome for the future of dance in Australia.
Kristian Fredrikson, costume design for The Duke in The Revenger’s Tragedy, 1975. National Library of Australia ID; a water paint of a male character throwing his hands in the air wearing a black and white bold patterned cape with brown and dark blue lining, black and white patterned trousers, black boots, intricate chest piece detailed with brown and a high ruffled neck, Elizabethan style.
Our conference closes with the BOLD Lecture given in the memory and spirit of Scotland based Australian dance artist Janice Claxton. Janis worked internationally, she was a hugely talented choreographer, a tour-de-force and front-line fighter for equality in dance. The first BOLD Lecture was given by Claire Hicks, Director of Critical Path. This year we will be joined by Marc Brew, another Scotland based Australian choreographer working internationally. Most recently he was the Artistic Director of AXIS Dance Company, USA.
ID; A photo of a white male, slim build, 6′ 2″ tall, wheelchair user with a shaved head, green eyes and sculpted facial stubble, wearing a black at cap, black jumper and a black & grey scarf around his neck. Poised in front of a grey background. Photo credit; Maurice RamirezMarc is a Disabled choreographer, director and dancer. His lecture titled ‘Point of the Spear’ will share his personal experience of the importance of being an advocate for accessibility and inclusion. How, collectively, we all need to work together to be Inclusive in our thinking and actions to make the world equitable for all.
On a final note applications for The Annie are coming in which is brilliant. Do keep sharing the word so we can support an artist to create work on older dancers with Annie’s inimitable spirit chivvying us on.
Next up we will announce our workshop series which will be offered over the 5 days of the Festival. We have 15 workshops being offered in person in Canberra and on Zoom from around Australia, LA, Canada, Singapore and the US. Be fabulous Stay Bold best wishes
The BOLD Team
New appointments
A range of departures and new appointments to dance and dance-related organisations was announced over the past month or two. In Australia they include the departure after close to twelve years of Anne Dunn from Sydney Dance Company to take on the role of Executive Director and Co-Chief Executive Officer of Sydney Theatre Company. Lou Oppenheim will take on the role of CEO of Sydney Dance Company in mid-February.
Elsewhere in the world they include the appointment of Tamara Rojo as Artistic Director of San Francisco Ballet. Rojo leaves English National Ballet in late 2022 to become the first female director of SFB. She replaces Helgi Tomasson.
What is it about Swan Lake? Looking back I have seen productions of this ballet across Australia and around the world. The Australian Ballet has had four different productions in its repertoire for a start—all quite different. Then I can’t leave out the production by the Borovansky Ballet in the 1950s and the two created in New Zealand that I came across while researching my recent book, Kristian Fredrikson. Designer. And I have seen European and English productions as well as some from the United States. Perhaps I’ve seen somewhere between 10 and 15 different productions. Then, just recently I watched A Swan Lake, choreographed by Alexander Ekman. It is 90 or so minutes long. Around the same time I watched Swan Lake Bath Ballet by Corey Baker, which is just over 3 minutes in length. These last two productions are quite unusual takes on the ballet we know as Swan Lake.
Back in 2016 I interviewed Ekman in Sydney for a story about his production of Cacti, which was being brought to Canberra by Sydney Dance Company. I recall the interview, and the rehearsal that I was privileged to watch, very clearly. Ekman was a charming interviewee, willing to open up about his work and full of laughter and jokes. I remember he said:
My work is entertainment. I take my interpretations from life, from the weirdness of what we do. I’m not just a step maker. I think I’m good at making situations.
Well A Swan Lake is certainly full of situations (some quite weird) and is also certainly entertaining in a kind of a way. Made in 2014 for Norwegian National Ballet and filmed that same year, it is in 3 acts, although Act III is VERY short. A Swan Lake is danced to a score by Swedish composer Mikael Karlsson, which in the first act features some occasional musical references to the Tchaikovsky score. In addition to the Norwegian National Ballet dancers, the cast includes children from the Norwegian National Ballet School, some actors and an opera singer.
Act I purports to consider the origins of the apparently ill-fated first production of the ballet in Moscow in 1877, which had choreography by Julius Reisinger. There were, also apparently, difficulties associated with other aspects of the production, including which ballerina would dance the leading role. The craziness that pervades Act I of A Swan Lake suggests the fiasco that many believe characterised the 1877 production. It features, for example, an assortment of people, extraordinarily dressed by Danish fashion designer Henrik Vibskov, constantly coming and going in and out of doors that comprise the set.
Perhaps the most interesting section in Act I, however, takes place between two actors with one (representing Reisinger?) trying to think up a story (eventually coming up with swans) and what steps would suit his choices. His attempts were constantly rejected by a man behind a desk.
I also wondered for a while about the opera singer who kept appearing in Act I and, after reading a little about the people involved in putting the 1877 show together, I discovered that, at the time, the Intendant (Administrator) of the Bolshoi Theatre in Moscow where the first performance was held was married to an opera singer. A situation from history not excluded by Ekman?
Act II (137 years later than Act I we are told) was set in a very watery environment. The stage of the theatre was flooded with water and, as if to show the passing of time, the choreography initially was slow motion as the water continued to fall. As time wore on the dancing made use of the watery environment and was very physical and of today (more or less). There were moments when a flood of rubber duckies fell onto the stage and other moments when Swan Boats transported people across the water, reminding me of the Swan Boats that carry pleasure seekers on a lake in the Public Garden in Boston, Massachusetts. (I was amazed to find that these pleasure boats, which I have to admit to having ridden, date back to 1877).
But the highlight of this act for me was the meeting in the middle of the watery stage of a black swan and a white swan. They wore a tutu skirt, a close fitting helmet-style headdress and a remarkable, almost architecturally designed bodice with an enlarged ‘hump’ at the back. The black swan was engaged at one stage in slapping the white swan hard across the face, while the white swan accepted her fate and simply placed her hands gently on the black swan’s face. Was this Ekman bringing in the theme of good versus evil that is part of the regular Swan Lake. Or did it relate to the apparent problems between ballerinas in relation to the 1877 production?
Act III lasted for about a minute. We were transported forward about 200 years and were treated to a brief dance by a robot with swan wings. Will someone still be making new versions of Swan Lake two centuries hence?
There is no doubt that Ekman’s Swan Lake generates a range of thoughts and ideas. Sometimes it is hilarious, sometimes it is hugely inventive, sometimes it causes many thoughts about history, choreography and repertoire. And it is entertaining in a Ekman kind of way.
But after this experience, as exhilarating (and exhausting) as it was, all I can say is that Swan Lake Ballet Bath was a relaxing, and quite beautiful experience. Created by New Zealander Corey Baker on 27 dancers from companies across the world, it was filmed entirely remotely during lockdown by dancers performing in their home bathtubs and filmed by them using mobile phones. And how impressive is the post production!
Watch below.
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A Swan Lake is available (with subscription) on Marquee TV. Swan Lake Bath Ballet is part of the Sydney Opera House’s UK/AU Digital Stream and was created as part of BBC Arts Culture in Quarantine.
Michelle Potter, 31 January 2022
Featured image: Swan Boats from Act II, A Swan Lake. Photo: Erik Berg
All photos from A Swan Lake by Erik Berg (permission requested and pending)
Louis Solino was for years a member of the celebrated José Limón Dance Company of New York. He later staged many works from that company’s talisman repertoire when a tutor at New Zealand School of Dance. Louis was partner of New Zealander Paul Jenden, both of them major contributors to Wellington’s theatre life.
Early drawn to dance, Louis performed in American Bandstand, Philadelphia’s hugely popular tv music and dance show. After studies in New York, he joined the Limón Dance Company in 1968, staying for 11 years. The company toured widely, including South America, Poland and Soviet Russia, encountering interesting audience reactions to the ‘new’ art.
In 1981 Anne Rowse, director of New Zealand School of Dance, on a study tour to establish connections for possible development at the school, had a fruitful and far-reaching meeting with Louis and Paul (who was studying dance and design in New York).
Choreographies by Mexican-born Limón and fellow-artist Doris Humphrey are classics of American modern dance, timeless works of thematic power and intrinsic musicality. Anne understood the importance of that heritage, and upon learning that Paul was returning home, invited Louis to tutor at NZSD. She recalls, ‘He taught and staged wonderful repertoire, influencing many students into their subsequent careers … Carolyn Lambourn, Kate O’Rourke, Ursula Robb, Daniel Belton, Sarah Lawrey, Alannah Eliot, Alexandra Blair are only a few who come to mind.’
Louis worked at NZSD from 1982 to 1998. Sue Nicholls on the faculty recalls, ’I have a distinct vision of Louis with a very straight back, chin slightly dropped and direct focus. I really admired his care in presenting these works, and the students showed a deep respect for him and this heritage.’ Louis, a disciplined task-master, never handed out praise before it was earned, even if then, but guarded accuracy and integrity of each choreography. These included There is a Time, The Unsung, La Malinche, Concerto Grosso, Choreographic Offering, Dances for Isadora, The Shakers, Day on Earth, Two Ecstatic Themes, Air for the G String. It was phenomenal that Louis had memorised all those works. While the notated dance scores sent from New York were interesting, he scarcely needed to consult them. Everything was in his head and heart.
Dance studies seminars in Victoria University of Wellington’s Continuing Education program offered studio showings of The Moor’s Pavane—(Louis reprised the role of Iago he had played opposite Limón’s and also Erik Bruhn’s Othello. Jenden danced The Moor, Carolyn Lambourn Desdemona, Claire Martin Emilia) allowing us insight into the jewel in the crown of Limón’s repertoire. (Years later another student Daniel Belton would dance Iago to Irek Mukhamedov’s Othello in Kim Brandstrup’s European company. This is dance lineage of the highest order).
Equally memorable was Louis’ staging of Limón’s solo Chaconne, impeccably danced by Paul Jenden, the Bach/Busoni music stunningly played by pianist Richard Mapp. Jenden in slimline dark trousers and soft silk shirt, in Adam Concert Room, at a Music Teachers’ symposium and in the Lutheran church in Newtown, filled these bound spaces with consummate control and a noble dance quality. They rank among the most exquisite performances I have witnessed.
A graduand dancer may never perform professionally again, but from Solino’s stagings they would carry memories for life. Limón’s choreographic style and aesthetic is minimalist, finely honed and paced, character embedded within the choreography, needing no embellishment, strain or added emotion. Just the moves as set.
Louis and many of his colleagues were devastated when his teaching tenure at NZSD ended. He continued free-lance teaching, working with Fleur de Thier’s Rebound dance company in Christchurch and in a number of films, but his talents were absurdly under-used.
Jenden’s theatrical output was prolific, and he made roles for Louis wherever possible—in the Hairy Maclary shows, The Gay Fandango, musicals and pantomimes at Circa or Bats, seasons of Fairy Stories (with Jon Trimmer also in the cast)—shows laced with biting satire and high-camp naughtiness. Jenden’s legendary Swan Lake and Giselle, 20 minute one-man shows, hilariously mocking perfunctory ballet productions, with Bill Sheat claiming these were the funniest things he’d seen in the theatre.
In 2013, after serious illness with cancer, Jenden created C— The Musical at Circa. Louis played the silent role of Carcinoma and musician Sue Alexander recalls him as ‘an eerie, gaunt, elegant baroque figure, dressed in a long cape which I had to pass as it lay on the floor backstage, the only position from which Louis could put it on. It was about 20 feet long and spread along the floor like a dark, densely textured Venetian corpse.’
Voluminous sky-blue silk capes are worn in Doris Humphrey’s elegaic Air for the G String (Louis left the costumes here when he returned to America, trusting us to choose the appropriate celebratory or commemorative occasions to dance it). One of the costume labels reads ‘Renata’. Renata Donovan subsequently studied nursing, and I happened to meet her in ICU of Wellington Hospital, nursing the dying Paul Jenden. She did her work with care and compassion, sat with Louis in the waiting room, then went back to nurse the patient. Just the moves as set.
Louis returned to America in 2014. Our farewell to him included Air, and a striking rendition of Two Ecstatic Themes danced by Lucy Marinkovich. Grateful students gifted him a pounamu pendant which he wore constantly, ‘a piece of Aotearoa to take with me’ so no surprise to see it still at his throat when former students, led by Michael Long, enterprisingly fund-raised to bring Louis back to Wellington for the school’s 50th anniversary in 2017. I took him to visit revered kuia, Tiahuia Gray (whose daughter Merenia and son Tanemahuta had both been Louis’ students) to bless the pounamu with a karakia. Tiahuia asked Louis his favourite word so as to name the taonga. He answered ‘Paul’.
Louis lived his last years with family in New Jersey, and died after a long illness. He is survived by his sisters, Marysue Palen, Joann Fry and their families.
Louis Solino, born 7 February 1941, Philadelphia; died 5 January 2022, New Jersey
An edited version of this obituary first appeared in New Zealand in Stuff Entertainment on 22 January 2022. Sources: Anne Rowse, Felicity Hamill, Daniel Belton, Sarah Lawrey, Jane Woodhall, Richard Mapp, Carolyn Lambourn, Sue Nicholls, Sue Alexander
ID; A photo of a white male, slim build, 6′ 2″ tall, wheelchair user with a shaved head, green eyes and sculpted facial stubble, wearing a black at cap, black jumper and a black & grey scarf around his neck. Poised in front of a grey background. Photo credit; Maurice RamirezMarc is a Disabled choreographer, director and dancer. His lecture titled ‘Point of the Spear’ will share his personal experience of the importance of being an advocate for accessibility and inclusion. How, collectively, we all need to work together to be Inclusive in our thinking and actions to make the world equitable for all.
