I am pleased to be able to post some interesting material sent to me by New Zealand-born choreographer, Gray Veredon. He has just loaded the first of a series of video clips in which he talks about his aims and ideas for his choreographic output. He uses examples from his latest work, A Midsummer Night’s Dream, which he mounted recently in Poland. See below.
Alan Brissenden (1932–2020)
The dance community is mourning the death of Dr Alan Brissenden, esteemed dance writer and outstanding academic from the University of Adelaide. Alan wrote about dance for a wide variety of magazines and newspapers from the 1950s onwards and was inducted into the Hall of Fame at the Australian Dance Awards in 2013.
As I looked back through my posts for the times I have mentioned Alan on this site, it was almost always for his and Keith Glennon’s book Australia Dances: Creating Australian Dance, 1945–1965. Since it was published in 2010, it has always been my go-to book about Australian dance for the period it covers. No gossip in it; just the story of what happened—honest, critical, carefully researched and authoritative information. Very refreshing. Find my review of the book, written in 2010 for The Canberra Times, at this link.
A moving obituary by Karen van Ulzen for Dance Australia, to which Alan was a long-term contributor, is at this link.
Jack Riley
It was interesting to see that Marcus Wills’ painting Requiem (JR) was selected as a finalist for the 2020 Archibald Prize. While Wills states that the painting is not meant to be ‘biographical’, the (JR) of the title stands for dancer Jack Riley. Riley began his performing career as a Quantum Leaper with Canberra’s youth group, QL2 Dance. After tertiary studies he has gone on to work with a range of companies including Chunky Move, Australian Dance Party, and Tasdance.
See the tag Jack Riley for more writing about him and his work on this site.
Jake Silvestro
The first live performance in a theatre I have been to since March took place in September at the newly constructed black box theatre space at Belconnen Arts Centre, Canberra. It was a circus-style production called L’entreprise du risque. It featured Frenchman Bernard Bru and Australian Circus Oz performer Jake Silvestro, along with two young performers who trained at Canberra’s Warehouse Circus, Imogen Drury and Clare Pengryffyn.
While the show was somewhat uneven in standard, the standout performer was Jake Silvestro, whose acts on the Cyr wheel showed incredible balance and skill in general.
But whatever the standard, it was a thrill to be back watching live theatre again.
Kristian Fredrikson. Designer. More reviews and comments
In Wellington, New Zealand, Kristian Fredrikson. Designer is being sold through Unity Books, which presented the publication as its spotlight feature for its September newsletter. Follow this link. It includes Sir Jon Trimmer’s heartfelt impressions of the book, which I included in the August dance diary.
An extensive review by Dr Ian Lochhead, Christchurch-based art and dance historian, appeared in September on New Zealand’s Theatreview. Apart from his comments on the book itself, Dr Lochhead took the opportunity to comment on the importance of archiving our dance history. Read the full review at this link.
Royal New Zealand Ballet also featured the book in its September e-newsletter. See this link and scroll down to READ.
Back in Australia, Judy Leech’s review appeared in the newsletter of Theatre Heritage Australia. Again this is an extensive review. Read it at this link.
Press for September
‘Capital company.’ A story on Canberra’s professional dance company, Australian Dance Party. Dance Australia, September-November 2020, pp. 31-32.
I first met Edith Campbell in 2018 when I delivered the first Russell Kerr Lecture in Wellington. The day after the lecture Edith sent me a collection of items from productions by Opera-Technique Inc., the operetta company for which Kristian Fredrikson designed his very early shows, and with which Edith appeared as a performer. The material, which included press clippings and a booklet listing Opera-Technique productions between 1954 and 1994, was extremely helpful in my research, clearing up a number of points about those early Fredrikson years.
Edith has now read the Fredrikson book and has written a quite fascinating piece giving a personal account of what it was like performing with Opera-Technique. One section in particular suggests to me that, even in 1962 with his work on A Night in Venice, Fredrikson was involved in researching an accurate background for his designs. I am thrilled to be able to post Edith’s reflections on this site. And as more and more comments come in about the book I can’t help feeling that we need another book!
Read Edith’s story below.
Michelle Potter, 27 September 2020
Kristian Fredrikson, Designer—by Michelle Potter Basking in reflected glory! Reflections on reading this book
by Edith Campbell, Wellington
Who does not get a kick out of being in some way, however small, connected with a special event or with a ‘star’ reported in a publication? In 1963, having recently arrived in Wellington from my hometown Edinburgh, I joined a Wellington Polytechnic choral singing evening class (housed in the Wellington Technical College) which I discovered was also the amateur group Opera-Technique. Formed by enthusiastic former students of the Wellington Technical College (now Wellington High School), they had already presented a few musical productions in their spacious School Hall; Strauss’ A Night in Venice was their current project. Rehearsals involved working closely with Musical Director Harry Botham (a double-bass player in the National Orchestra and teacher at the Polytechnic) and of course with producer Harry Baker, referred to by Michelle Potter as teacher and mentor of the young Kristian Fredrikson as the costume designer. I do remember occasionally seeing this dark-haired young man about the place—of course we all admired his work—colourful—imaginative—sparkling!
Costume for a Prostitute in A Night in Venice, Opera-Technique Inc. , Wellington 1962. Australian Performing Arts Collection, Arts Centre Melbourne
As was common at that time, many of the cast were very ‘handy’ with their sewing machines. Mrs. Daphne Lawrence—our most excellent wardrobe mistress—a trained tailoress—was a whizz at interpreting the designer’s drawings; she produced practical patterns and cut out the fabrics. There were several real dressmakers in, or attached to, the company who did the more intricate work, but quite a number of the cast received their cutout costumes to sew together. What fun to stitch ribbons of sequins in swirls on the supposedly bare-bosoms of we show girls and insert a mirror into our garters to catch the eye of perspective clients! (Imaginative touches Kristian!) It was exciting to be so intimately involved in the production in this way in addition to singing and dancing in it—accompanied by a section of the National Orchestra no less!
Being presented in a School Hall the general public did not comprehend that the production not only was performed entirely by adults, but was extremely professional in every area, and so Opera-Technique took the bold step of taking their next production—Offenbach’s La Vie Parisienne—into the city to perform in the Opera House! (took many years to pay off the debt!) Again the stage was filled with Kristian’s scintillating designs. Allan Lees designed the set. At this time overseas companies fairly frequently brought plays and musicals to the country’s main centres. From well-known institutions, in their homeland’s ‘down time’, they found it profitable to ‘tour the colonies’. The thespians resident in NZ were extremely well-versed in their craft, but, as the small population could not support them professionally (i.e. full time), the general populace saw them as amateurs and asked—if one may draw a Biblical analogy—‘can any good thing come out of Nazareth?’ (John 1: 46). The standard of the shows put on by these so-called amateurs was of a high calibre in every respect both on stage and behind the scenes—set and costume design, lighting, stage management, even front-of-house—could often put the overseas companies to shame. It was a long time before the ‘Nazareth’ concept was overcome!
So this was the vibrant theatre scene into which the young Kristian was introduced—one where his excellent talents were recognized and fostered. An early illustration in the book shows his designs for the Kings in Menotti’s gem Amahl and the Night Visitors. They were seen and appreciated widely for several years as Opera-Technique presented the lovely Christmas story in many churches and halls in the greater Wellington area (had a simple very adaptable set by Allan Lees). Along with many singers and those in related stage crafts, Kristian’s experience with Opera-Technique stood him in good stead when he spread his wings to fly across the Tasman and further.
Be life humdrum or exciting, whatever makes a person tick—whatever motivates them, is always intriguing. Based on meticulous research, Michelle tells Kristian’s story beautifully. Every performer must ‘get under the skin’ of any character he or she plays. A costume that is ‘just right’ is itself a physical manifestation of that skin and Kristian had the knack of creating that skin with his designs. While spiritually getting under the skin, being wrapped in it by donning a costume adds a tremendously reassuring dimension. After a performance the audience will remember the expressiveness of a sonorous voice, the grace of a movement, but the visual appearance is an essential element in recreating the memory. With her liberal use of direct quotes from Kristian’s writings and reported conversations, Michelle gives us insight into his intense passion for attention to detail and his extensive studies to be very aware of the background of the stories he was illustrating, also that of the writers and composers—he worked with the complete picture for his references.
Needless to state, Kristian loved to return to NZ to fill commissions from the RNZ Ballet and the dancers and the audiences loved it too! In Peter Pan, Sir Jon Trimmer was in his element as he strutted about in his exuberant Captain Hook costume, complete with be-feathered hat. In real life Jon is delightfully comedic with more than a touch of mischievousness and his costume caught a whiff of that too!
It is often reported that a block-buster movie has a cast of thousands. A considerable proportion may actually appear on the screen (or be consigned to the cutting room floor). Though perhaps not strictly part of the ‘cast’, many of the thousands are the indispensable support people. By the time the last chord is played to accompany the rolling credits seldom does one patron remain in the cinema! Admittedly the ‘rolling’ is too fast to read individual names, but one glimpses titles such as ‘Best Boy’ or ‘caterer’. So sadly so much passion and creativity is not immediately acknowledged. Hopefully theatre audiences go home clutching their programs to peruse later the list of all the off-stage people who contributed so much to their pleasure!
Let us be immensely grateful to Michelle for her words and wonderful selection of illustrations to not only recognise Kristian’s accomplishments, but to remind us of the great number of talented and dedicated people who brought his designs to life in the many facets of the productions. The performers on stage receive applause—sometimes on the last night of a season, conductors, designers and stage managers are invited on stage also and a wave is given in the direction of the lighting box. Maybe a representative of all the ‘other people’ could appear. We all do what we do to express and share our love of beauty … but it is nice to occasionally receive at least a sliver of that light of reflected glory!!
*************************************
Featured image: Front cover (detail) of the program for the Opera-Technique Inc. production of La vie parisienne, 1963. National Library of New Zealand, Eph-A-OPERA-OT-1963. The full cover image is below.
The power and excitement of Len Lye’s kinetic sculpture is clearly etched in the memory from visits I have made to the Govett-Brewster Gallery in Taranaki New Plymouth over the years. (Len Lye, a New Zealander, b.1901, began his arts experiments here but his subsequent career, based in New York through many decades, earned him a huge international reputation. His monumental sculptures with kinetic, aural and cinematic dimensions have been much discussed in publications by Wystan Curnow and by Roger Horrocks, and in a particularly fine documentary, Flip & Two Twisters, directed by Shirley Horrocks).
The Govett-Brewster gallery building is an inspired architectural presence in its own right. In tandem with the Len Lye Foundation, a major collection of Lye’s work is housed there and shown in sequential displays throughout the year. One of my visits I remember particularly well, since my companion and I lingered long in the gallery and then spent the rest of the afternoon in the cafe discussing Lye’s work, as well as the gallery’s achievement which originated with the vision of arts philanthropist Monica Brewster, who established it back in 1960s, independently of local council and other institutional governance.
That in turn led to my comparative thoughts about dance and the structure of performing arts companies versus independent artists—about who ‘owns’, who directs, who funds, who governs, who controls, who survives, who thrives—about how heritage repertoire is guarded, how programming is selected, how the welfare of the artists in companies is maintained, and how free-lance artists develop their work, who of them survive, who thrives, who is the dramaturg?—in a word, how dancers work, how dance works. All of these aspects are apparent to audiences, even if only subliminally, since they are reflected in the morale and calibre of each dancer we see in any given performance. It is said we get the politicians we deserve. Do we get the dances we deserve? Do the dancers get the recognition they deserve? As usual the answer is Yes & No.
Cameron McMillan, New Zealand born and raised, is a thriving surviving dance-maker. His current website is zinging testament to that. Born and raised in New Plymouth, he later trained at the Australian Ballet School and then joined RNZBallet in 1997, under Artistic Director, Matz Skoog. It was in 2000 that Cameron was noticed and singled out in glowing words in a review by Joan Acocella who saw him in Mark Morris’ Drink to me only with thine eyes—with the music most memorably played by pianist David Guerin onstage.(We had brought Acocella from New York to an Arts Festival here, under a Fulbright project on arts writing. The British Council had brought Michael Billington, drama critic, as part of the same program).
Cameron McMillan in Beneath Sky Snakes, 2020. Screenshot
Acocella wrote that McMillan’s talent was striking already but that his potential was huge and that he could expect a major international career. She has proved not wrong. He choreographed Unsuspecting View for the Tutus on Tour of 2001, left RNZB not long after and has developed a stellar international career abroad, unfortunately little reported on back here, among several of our ex-pat choreographers whose work should be shared here but never is. Turid Revfeim’s Ballet Collective enterprise is soon to help redress that regrettable situation.
In 2015, I saw and reviewed a performance of Cameron’s work at the Hong Kong Academy of Performing Arts where Ou Lu had appointed him choreographer-in-residence. It’s a poignant work, with a large cast of dancers, string quartet playing on stage. The theme concerns a corps-de-ballet dancer’s experience—a glimpse into something we all see but rarely discuss. The work would thrill audiences here, if only they had the chance to see it.
During the extraordinary times of Covid 2020, dancers and dance companies worldwide have been both staunch and flexible in streaming videoed responses to the wild changes in their lives and work. In some cases that has brought publicity and exposure they could never have dreamed of, and we have been offered access to extraordinary choreographic riches—Saarinen’s Borrowed Light, Lin Hwai Min’s Moonwater, Marston’s The Cellist would be some of the finest examples—though we have probably all seen enough of the dances videoed on a mat in the living room or on the patio—as a message of dancers’ resilience they’re fine, but as choreography they were mostly short of the mark.
Cameron McMillan in Beneath Sky Snakes, 2020. Screenshot
Cameron McMillan, in collaboration with the Govett-Brewster Gallery, has made a work in response to Len Lye’s Sky Snakes, which had its premiere exhibition in February 2020. Beneath Sky Snakes is an absorbing choreographic response to a sculpture that was moving already. The dance has a man on the ground, beneath a sky with huge forces of stalactite proportions. Tempo Dance Festival, an annual Auckland season, enterprisingly made the video available during this year’s digital season since the live program was cancelled. The choreography is yet in early stages of the film treatment it deserves but the dance shows a performer still moving with the mesmerising fluidity that Acocella described back in 2000. Perhaps a Govett-Brewster commission to Cameron could see a series of dances relating to other of Len Lye’s works. We all benefit from writing, talking, thinking about and remembering good dancing. Malo and Manuia
Jennifer Shennan, 11 September 2020
Featured image: Cameron McMillan inBeneath Sky Snakes, 2020. Screenshot
Canberra’s dance companies, large and small, have always been good at making site specific works, especially in outdoor venues. The city lends itself well to such events. Canberra dance-goers will remember exceptional performances in outdoor venues from past companies such as Meryl Tankard Company and Paige Gordon and Performance Group.
Canberra’s current professional company, Australian Dance Party led by Alison Plevey, has continued the tradition with many of Plevey’s productions taking place outdoors. August saw ADP’s Lake March, a response over several weekends to the difficult situation dance companies find themselves in at present. Performing as part of the Where You Are Festival around three of Canberra’s lake areas, Lakes Burley Griffin, Ginninderra, and Tuggeranong, eight dancers and two musicians (Michael Liu on violin and Alex Voorhoeve on cello) moved in a line around the edges of the lake areas, observing social distancing as they proceeded. They paused occasionally and engaged in spontaneous expressive movement before continuing the march until they reached a final destination.
Lake March attracted an interested audience of cyclists, kids on scooters, joggers and Canberrans enjoying the outdoors. A few performances in mid-August were postponed, however, when the weather was less than warm. It was snowing in some parts of Canberra!
Regular visitors to my website will know that I have a great fondness for Jacob’s Pillow, that amazing dance venue (and it’s more than a performance venue) in Massachusetts. I have just recently posted reviews of two of the Pillow’s 2020 digital offerings—a program from the Royal Danish Ballet, and Borrowed Light from Tero Saarinen Company and Boston Camerata. Both were terrific performances.
I have, however, occasionally wondered why the site was called Jacob’s Pillow and so I was interested to discover (somewhat belatedly given that I was at the Pillow in 2007!) the history behind the name.
The YouTube link above shows Norton Owen, Director of Preservation at the Pillow, explaining the origins of the name.
Freeman. A new documentary to watch
The ABC has produced a documentary to mark the 20th anniversary of Cathy Freeman’s historic win in the 400m sprint at the Sydney 2000 Olympics. The film is co-directed by Stephen Page and features Bangarra dancer Lillian Banks as a young Cathy Freeman. The documentary includes archival footage, interviews and dance sequences. It will be available on ABC iview from 13 September.
Kristian Fredrikson. Designer. Some reviews and comments
In addition to the review of my recent publication, Kristian Fredrikson. Designer, written by Jennifer Shennan and posted on this site, here are some reviews and a comment made during August.
And from Sir Jon Trimmer, esteemed former dancer with Royal New Zealand Ballet in a note to Unity Books in Wellington:
What a magnificent book this is. Michelle Potter has been able to bring Australia and New Zealand close together by including all of Kristian’s work in both countries. Our own ballet company’s history is brought to life in a very special way… and there’s even mention of the Chez Lily, that Dixon Street coffee bar where we spent so much time talking about our dreams and our work, back in the day. I thought I was the only person who remembered it. We are very lucky that Michelle has produced this special book. It is one to treasure.
Borrowed Light is a collaborative endeavour between the dancers of Finland’s Tero Saarinen Company and the singers of Boston Camerata. Inspired by the Shaker movement as it was made manifest in the United States largely during the eighteenth and nineteenth centuries, it premiered in France in 2004, came to Jacob’s Pillow in 2006, and then again in 2012. A film of that 2012 production was recently screened as part of the Pillow’s Virtual Festival for 2020. With choreography by Saarinen, accompanied by traditional Shaker songs sung by Boston Camerata, and with some stunning contributions from others in the creative team, Borrowed Light is a truly exceptional collaboration.
Borrowed Light begins in silence and semi-darkness. A single female dancer moves in a shaft of light. Slowly the stage space lightens a little and, dimly in the background, we can make out seven other dancers and eight singers. The solo dancer’s expansive arm movements seem to be calling the others into the performance. She begins to clap, her movement gets faster, and she adds some stamping movements. Slowly she is joined by the other dancers and singers and the performance moves forward.
Looking back after the performance has finished, it seems clear that this opening section sets the scene for the rest of the performance. Light and dark change places frequently, slow and fast movements alternate, clapping and stamping feature at various times, and choreographically the work focuses on very loose swinging arms; fluid upper bodies; and wide, strong steps. Dancers and singers come and go as the centre of attention but are equal partners in the work.
Two sections stood out for me: a solo danced to a rendition of that well-known Shaker song Simple gifts, and a much wilder section danced by three couples to The great wheel is turning round. The solo to Simple gifts, began and finished in silence and throughout the solo the dancer scarcely moved within the stage space. But the expressive power of her movement, especially the detailed placing of the hands and fingers in the air and on the body, was exceptional. As for The great wheel, it began quite calmly with a spread-out circle of dancers. A smaller circle of singers positioned inside the large circle turned slowly as the singing progressed. But gradually the movement gathered momentum and the circle of dancers became tighter and closed in on itself. A sense of euphoria developed in the choreography and ultimately trance-like behaviour became apparent as some dancers fell to the ground. It was heart-stopping dancing and singing!
But of course there were many other sections that generated different emotions—the ecstasy of the dancers performing to Virgins clothed in a fresh white garment, or the seriousness of movement and song in I will comfort them that mourn, for example. In fact every moment of Borrowed Light was astonishing in its own way.
Costumes by Erika Turunen were mostly black but had exquisite detail and a touch of blue-grey colour, differently embedded into the costumes according to gender and role. They were masterly too in the way they played with texture and different fabrics and, in the case of the dancers, in the way they moved so beautifully.
The set by Mikki Kunttu (who also designed the lighting) used the barn structure of the Ted Shawn Theatre in which the show was performed as a backdrop. Onstage there was a series of black risers. They functioned both as a platform for performance on various occasions and also as a resting place for performers when not singing or dancing. What was also quite distinctive about Borrowed Light was the way in which the artists interacted. There was no real separation between singers and dancers, an aspect of the work that set out to highlight the Shaker attitude to community.
Borrowed Light was a truly masterful show. Each individual part was moving, or exciting, or dramatic, or religiously fanatical even. But the whole was coherent and so beautifully and unusually structured. I watched it twice but wish I could have watched it many more times, except that it was only available for a short period!
NOTE: The title Borrowed Light comes from ‘the architectural practice, common for the Shakers, of building windows into interior rooms, thus maximising dayllght and productivity.’
