20 September 2019. A ‘secret vault’, Dairy Road Precinct, Canberra
Dairy Road Precinct, on the edge of Canberra’s industrial suburb of Fyshwick, may be the least likely venue imaginable for a dance performance. A largely uninviting area, it is filled with buildings in hard-edged contemporary architectural style; there is little adequate signposting; and the precinct is difficult to navigate and to find the building one wants, even in daylight let alone at night. It is home to various organisations and start-up companies and seems to be filled with warehouses and vehicle yards. But a large warehouse, once used as a storage bunker by the Australian Mint, was the somewhat surprising venue for From the Vault, the latest production staged by Alison Plevey and her Australian Dance Party.
From the Vault looked at personal values that the Party thought were significant in our current society. The ideals that topped the list during research for the work were Safety, Freedom, Wealth, Individuality, Truth and Connection. Each of these ideas was examined in a distinct section with one particular dancer leading each part. While the values being put forward were not instantly recognisable (I later read the program notes), From the Vault was clearly about people’s emotions, thoughts and personal ideals. It was a work with which we, the audience, could immediately identify and it really didn’t matter if one’s thoughts strayed from what was written in the program (especially if it wasn’t read prior to the performance). I saw the Wealth section, for example, as being about greed and even gambling, and of course related it instantly to the original function of the performance space, especially when coins rained from above and were exchanged and tossed between the dancers. But, with its emphasis on people and their values, however one perceived what those values were, From the Vault was by far the best work I have seen from the Australian Dance Party.
Of course to be the best work I had seen from Plevey and her Party, From the Vault also needed to be expertly staged and well danced, costumed and lit. The five dancers, Stephen Gow, Olivia Fyfe, Eliza Sanders, Alana Stenning and Ryan Stone, all performed with the power and commitment we have come to expect of them.
Stone was the standout performer. He led the section that represented Individuality (although to me it seemed more like gentle dominance). The section began with a kind of Mozartian flourish as dancers performed a dance built around a very eighteenth-century reverence. But then, accompanied by Alex Voorhoeve on his magical electric cello, and with a sound design from Andy McMillan, Stone began some of the most beautiful (and I should add individualistic) dancing I have seen for a long time. His limbs seemed to have no restrictions at all, such was the fluidity and freedom with which he moved. His speed and elevation were a joy to watch, and I loved the way he covered the space with his larger movements. I was also impressed with the way in which his body, and every part of his body, filled the immediate space around him. Nothing was a mindless gesture and he seemed totally absorbed in his execution of the choreography. He was a dancer possessed.
Mark Dyson’s lighting design added much to the atmosphere with a strong use of colour, down lighting and contrasts of light and darkness. There was mystery there, and the large space available in the ‘secret vault’ allowed dancers to appear and disappear throughout the performance. Costumes by Imogen Keen, with a mix of fabric from denim to patchwork splendour, were distinctive, attractive and quite chic.
Alison Plevey directed From the Vault and did not perform herself, as she usually does. With Karla Conway as dramaturg, focused direction from Plevey, and an exceptional creative input from the whole team, this work had power and coherence and was an immersive experience for the audience. Four and a half stars.
28 August 2019. Lyric Theatre, Queensland Performing Arts Centre, Brisbane
With its production of Sir Kenneth MacMillan’s Romeo and Juliet, Queensland Ballet once again displayed its constantly growing position as one of Australia’s leading dance companies. This Romeo and Juliet, for which the premiere dates back over 50 years to 1965, was first performed by Queensland Ballet in 2014 when the cast included several international guest artists. In 2019 the cast was home grown. The night really belonged, however, to Mia Heathcote as Juliet and Patricio Revé as Romeo. Both were promoted onstage at the conclusion of the performance.
The Heathcote/Revé partnership was an engaging one throughout. They shone in the several pas de deux on which the MacMillan production centres, and both provided us with believable interpretations of the characters they represented. Mia Heathcote’s confidence onstage and her ability to maintain her characterisation (and technique) throughout what is a long ballet with many changes of location, not to mention changes of emotional mood, was admirable. Revé clearly has many talents, although I suspect he probably needs a little more time before he has the stage presence that will match his technique.
I loved the group scenes in this production, all of which were imbued with great energy and so much interaction between all those on stage. Particularly impressive was the Capulet Ball, led magnificently by Steven Heathcote, guesting on this occasion from the Australian Ballet. There was just a touch of pride in the way he held his chest and turned his head that told us he was in charge. He maintained that dominance, a calm but obvious dominance, throughout, whether he was dismissing Tybalt’s attempts to remove Romeo from the ballroom, or demanding later that Juliet marry Paris. The ball scene was also distinguished by MacMillan’s beautiful choreographic approach in which the guests all danced with a slight tilt to the body. So appropriate to the era in which the ballet takes place.
The several fight scenes, staged by Gary Harris, were dramatic and spirited and, in the earliest of those scenes, the whole stage was abuzz with fiery action. The death of Mercutio at the hands of Tybalt was equally as dramatic with Kohei Iwamoto performing strongly throughout as Mercutio.
I was entranced too by a dancer (unnamed) playing the part of a disabled old man in the market place. Mostly he was high up on a kind of balcony that surrounded the market square but he was so involved with what was happening below that it was often hard to take one’s eyes away from him to watch the main action.
What confused me slightly (and probably only because I had not so long ago seen London’s Royal Ballet perform the MacMillan Romeo and Juliet) were the designs used by Queensland Ballet. I was, I have to admit, expecting the Georgiadis designs, which I admired greatly) but it turned out that Queensland Ballet has what Li Cunxin calls the ‘touring’ designs, which were rented from a company in Uruguay and are by Paul Andrews. For me they couldn’t match those of Georgiadis, although I admired Juliet’s bedroom with its red/orange drapes and its religious icon/prayer point in one corner. The costumes for the musicians who accompany the wedding procession in the market place were also impressive. They spun out beautifully during turning movements.
All in all though, another wonderful show from Queensland Ballet.
Bold Moves is a ‘something for everyone’ mixed bill of four works that include
old, older, new and not so new, with the dancers proving more than equal to the
demands of stylistic versatility for each of the contrasting choreographies.
The program requires a majority of female dancers across all the pieces, and
among them are three standout performers.
Serenade (to Tchaikovsky, Serenade for Strings), was choreographed
85 years ago by George Balanchine for students at his company’s ballet school.
Among the prolific choreographer’s scores of works, it sits lyrically apart, an
abstract style of classical movement with tweaks here and whimsy there, as he
built little mistakes made in rehearsal into the choreography, reflecting his
sense of fun when working with young dancers. The work was first staged here by
Una Kai, renowned former dancer with New York City Ballet, and our company’s
artistic director in 1970s. Harry Haythorne, subsequent director, staged it on
New Zealand School of Dance in 1980s and found there the perfect setting for it
with a student cast.
This line-up of 17 females in ‘moonlight blue’ danced the long first section with line and ensemble aspects finely wrought, but I missed the lightness of subtleties remembered (and a number of dancers from those earlier productions who were in the audience later agreed). Some performers had ethereal and distant facial expressions, while others grinned cheerfully at the audience—somewhat distracting since it’s not just the movement we are watching, but also the dancers’ thoughts we are following. What are they thinking? The second section with fewer dancers has a range of sculptured arm shapes and attractive groupings that are satisfying to follow. The woman beside me swooned and gasped with pleasure throughout as she sipped her wine. It’s always good to witness people enjoying themselves, but to my taste this was an oaked chardonnay.
The pas de deux that followed, Russian style
from 1932 but fashioned as though much earlier, Flames of Paris, is a sizzler for ballet competitions and the
virtuoso display of gala nights, so no great poetry here. Wrong. It’s all in
the how, not the what—and the quality of dancing by Mayu Tanigaito is a
revelation, as always. Her technique is so fabulously assured she can afford to
toss it to one side and simply offer us her pure pleasure at delivering a clean
line, an effortless turn, a nonchalant pose, all effort masked, a laughing toss
of the head, a loving smile, a way to live. She is the company’s longstanding
leading dancer in all these respects. Her partner was Laurynas Vejalis, also a
dancer of great technical ability, but he did not seem to be offering that as a
gift to her, so she instead offered hers to us. Lucky us. This was top-shelf
Stand to Reason, by South African choreographer, Andrea Schermoly, commissioned by RNZB in 2018, marks 125 years since the beginnings of universal suffrage. Danced by eight women who gave it a wonderfully strong and motivated reading, it encourages everyone to believe in democracy in a wider society, and in all the institutions within it. There are numerous back projections of text from suffragettes’ writings, which were not legible however from many areas of the auditorium, and it could seem wise to reduce this distraction since the text is already reproduced in the printed program, and its message built in to the choreography. Kirby Selchow and Madeleine Graham were truly standout performers among the totally focused cast. Brandy for courage, methinks.
William Forsythe’s Artifact II, 1984, perhaps with Orwell in mind, was brought here by his Ballett Frankfurt to an International Arts Festival season in 1994. It employs his hallmark extremism of anatomy +, with over-extensions of limbs creating shapes and thrusts that soon amount to shouting rather than speaking. (‘It’s hard to lip-read a shouting man’—Leonardo da Vinci warned us in the 15th century, and that is still the case). Two couples embark on simultaneous pas de deux, which is like four people speaking at once, impossible to watch or ‘hear’ them all. My eye gratefully went to Mayu Tanigaito and Massimo Margaria who danced with a totally immersed care and attention to each other, making quite the quality highlight of the piece. I know there exist interviews galore with Forsythe that explain the aesthetic and the choreographic intention of this work, but the reality is what comes to us across the footlights.
The Bach Chaconne used here means what we hear is the opposite of what we see. A chaconne is a baroque dance & music form that moves ever forward over a ground bass, without the theme & variations/verse & chorus structure of other baroque dances, and thus represents a through-composed journey. Douglas Lilburn caught well the notion of journeying in his solo piano composition by that title (worth choreographing some time?), but Bach’s chaconne is so wedded now to the talisman choreography by Jose Limon (given stellar performances by Baryshnikov in this same venue back in 1990s) with the solo musician alongside him on the stage. The dance, staged by Louis Solino, was also a number of times nobly performed here by Paul Jenden with Richard Mapp playing the Busoni piano transcription. Those achingly beautiful memories create a challenge to reconcile the use of the same music with a ballet like Artifact.
The curtain is
rung down numerous times while the work continues onstage (except in this
production we had the impression the dancing stopped then started again each
time the curtain rose). It has a point the first time, perhaps, but the
numerous repeats of the curtain crashing down become increasingly tiresome. I
still find this as cynical and fragmented a work as I did on earlier viewing,
and one cannot help but wonder what price the dancers pay for such extreme
physical demands made on them in its delivery. We have seen Forsythe’s In the Middle Somewhat Elevated in
several seasons by RNZB, also an extreme work, though the aesthetic there draws
on its thunderbolt percussive accompaniment. Excitement always won the day when
our former company dancers performed that work (most memorably Abigail Boyle,
Kohei Iwamotu, Laura Saxon Jones, Jacob Chown) who made it strikingly their
own. Artifact though is a cocktail of
For years our
company has had an equal weighting of female and male dancers, without a star
ranking system but with recognition of the strengths in individual dancers—as
classicists and actors, with character or humour—and with seasons extended over
ten days to offer opportunities for us to savour alternate casts in lead roles.
There was also a number of stellar visiting ballet masters, among the world’s
best, who brought refreshing stimulation to the dancers. The company now has a
new line-up and a new look—a system of star ranking introduced, seasons reduced
to only a few days, no visiting ballet masters, an increased number of dancers,
many more females than males, with a number of young performers and apprentices
it is too soon to identify individually, some trained locally but still
including many more imported to swell the ranks. That recruiting is difficult
to accept, given how many fine young dancers are in training throughout this
country, and how many other New Zealand dancers continue to search for work
abroad. (Wouldn’t a young dancer/graduate ensemble here offer them and the
country something to fill that gap?) And the company without Sir Jon Trimmer
retained to assist in the styling and staging of works, and as a quietly
masterful mentor to younger dancers, is not the one we have known for decades,
and a decision that remains indeed difficult to fathom.
Ballet companies, like families, grow from
their whakapapa. Every generation is itself, has parents and grandparents,
children and grandchildren. Our company’s early repertoire includes classics of New Zealand
vintage that could well be re-staged, (consider if you will—Tell me a Tale, Ragtime Dance Company, A Servant of Two Masters,
Bliss, No Exit, Dark Waves, The Decay of Lying, rose and fell, halo, Napoli.
Broadcast News, Sweet Sorrow, Mantodea, Charade, Prismatic Variations… none of which is older than Serenade) and many of our
choreographers and ballet masters with the required experience are
free-lancing here and abroad. If we don’t stage these works, no-one will. Kia mau te wehi, kia kaha. Ka tu ka ora, ka
noho ka mate.
Mauri, mauri, kam na mauri. Tekeraoi.(Bold Moves. Take courage. Standing up,
all is well, lying down, all is not well. Spirit, courage, blessings).
There is much that is interesting in Sue Healey’s Platform Paper published by Currency Press on 1 August 2019. What I found very readable was the information about Healey’s early career. There were her early dancing days in New Zealand, her father’s interest in making Super 8 movies, the nuns who taught her at school, her move to Australia, her student days at the Victorian College of the Arts, and her work with Nanette Hassall and DanceWorks. It was good too to read her discussion of the various processes she has gone through to develop her exceptional film making techniques, her thoughts on the various short films she made, and her remarks on her more recent move to making longer works. Some of her films have been reviewed on this website, most recently Eileen, and I have thoroughly enjoyed writing about them.
All this background leads in the Platform Paper to the three provocations Healey presents at the end of the paper. They basically relate to the role of independent dance and independent artists in society and culture. In a slightly abbreviated form the provocations are:
Independent dance artists deserve to be funded in a more realistic and sustainable manner.
Dance must extend its boundaries without losing sight of its own intrinsic qualities as a discipline.
We need an active debate about why dance continues to be relevant, who creates this relevance, and how to generate new opportunities for artists.
What bothers me, however, is the reliance throughout the paper on what I think has become a cliché: dance is ephemeral (with the often unspoken but usually implied notion that, as a result, dance has nothing much to offer conceptually, intellectually or any other ‘-ually’ word). I realise, of course, that Healey does not fall into the category of someone who thinks that dance has no lasting value because it is ephemeral, but many do think that way. Of course dance is ephemeral but so is anything we see (or hear) in the theatre. Is it the existence of words and a script connected with a play, or the existence of musical notation in a concert that causes many to think that these art forms are not so ephemeral and therefore more worthy in some way? As it happens there are dance works these days that use words in various circumstances and for various reasons. Lloyd Newson’s creations come to mind immediately. And, of course, Healey first ventured into film making to ‘make dance stay around for a bit longer’.
Despite the above, I really enjoyed Healey’s paper, and the Vimeo links to selections from her film works are a bonus. But I would have loved the paper to have had a fourth provocation that questions the notion of ephemerality in the arts and how people outside the immediate dance world can be persuaded that this does not make dance an inferior art form. We always seem to be justifying its presence.
Capturing the vanishing: a choreographer and film by Sue Healey. Platform Paper No. 60, August 2019. (Sydney: Currency House). More information at www.currencyhouse.org.au
8 August 2019. The Playhouse, Canberra Theatre Centre
As the curtain went up on QL2’s 2019 Quantum Leap production, Filling the Space, I sat up with a jolt. There were a couple of ballet barres onstage and dancers standing in ballet positions, even doing the occasional demi-plié. Not only were we faced with the barres and the pliés but the entire space of the Playhouse stage was stripped of its usual accoutrements—no legs or borders to mask the wing space or to hide the lighting or flies. Everything that is usually hidden from the audience was on show. What was this? Well, it was the beginning of James Batchelor’s Proscenium and Batchelor, now with a good number of works behind him, has never left us in any doubt that what he creates will be unusual in approach and leave us to ponder on what his works are about.
But what made Filling the Space, the overall production, so fascinating was that it showed off the diversity of the choreographic voice. We saw the work of three choreographers, Batchelor, Ruth Osborne and Eliza Sanders, and it would be hard to find three works so different in conception and vocabulary.
Batchelor’s Proscenium examines the space of the stage both within and beyond the structure that frames that space—the proscenium. It was rewarding to consider the particular use of the space he identified in the context of dance and architecture, which was the overarching theme of Filling the Space. But for me Batchelor’s use of the architecture of the stage space was not the most interesting feature of his work. His choice of movement vocabulary was the highlight. It ranged from extremely slow and intensely detailed, even introspective, movement to faster unison work with some partnering that relied on balance and support. As well there was extensive manipulation of those barres and other metal frames, some that dropped from the flies, others that looked like clothing or costume racks. At one point we watched a circus-like stunt with one dancer balancing on a narrow support joining the end parts of one of those racks while another dancer spun the whole structure with ever increasing speed in a giant circle. At another point, rows of chairs were brought onstage and dancers entered, sat down, moved some parts of the body, then rose and, with arms still in the pose they had taken while seated, made their exit. Batchelor was examining how stage space can be filled and emptied in various ways, but it was the way in which that examination occurred that was more interesting than the fact that it occurred.
Ruth Osborne’s Naturally Man-Made was danced against a background of footage shot on and around the grand staircase of Canberra’s Nishi building, a staircase made of recycled timber and a spectacular part of the building. Sometimes we saw the staircase as an installation devoid of people, at other times the footage included dancers performing on the staircase. In front of this footage dancers performed what might be called Osborne’s signature style—mass groupings of dancers with occasional break away moments. It fulfilled nicely, if in an obvious manner, the concept of dance and architecture.
Eliza Sanders had a totally different take on what constitutes architecture. Her work, The Shape of Empty Space, looked at emotional responses to different spatial environments. In this work her movement vocabulary was almost like mime. It focused on two main emotions, a feeling of being wild and free in some environments, with an accompanying flinging of arms, legs, and indeed the whole body in an unrestrained way; and a feeling of being crowded into a tight space, with an accompanying restraint in movement and groupings of dancers. The work was stunningly lit by Mark Dyson with well lit spaces alternating with hidden spaces set up by black curtains hanging at intervals in the performing space. It was architecture built by light and darkness through which we watched dancers appear and disappear. The work had a sculptural ending as dancers built an architecture of their own.
Both Batchelor and Sanders are QL2 alumni who are now working professionally as independent dancers and choreographers. Osborne is an early mentor to them. How lucky are the current dancers of QL2 that they get to work with choreographers whose creativity is so different, whose vocabulary is so individualistic, and whose work is so fascinating to watch, and so interesting to think about.
I remember how much I enjoyed reading Julie Kavanagh’s biography of Rudolf Nureyev—Nureyev. The Life published in 2007. It was so beautifully researched and very readable. So the recently released ‘biopic’ The White Crow, which was inspired by Kavanagh’s book, had something to live up to for me. Well, despite a swag of less that ecstatic reviews from film critics around the world, I loved this movie. Directed by Ralph Fiennes, it follows the early life of Rudolf Nureyev, from his birth until his defection to the West in 1961.
As this is a dance site I am assuming that readers are aware of the basic outline of Nureyev’s early life so I won’t recount the story. Instead I am selecting moments, some that brought me close to tears, some that made me smile, and some that, despite knowing what was going to happen, had me the edge of my seat. And others.
I was moved when Nureyev’s mother, Farida, was about to give birth on the train rattling its way through the Russian countryside. Her daughters stood in the corridor, shielded from the birth but hearing the groans and shrieks coming from their mother. The smallest of the daughters had tears in her eyes— such a beautiful moment from such a little girl. It brought me close to tears.
Another moment connected with Farida also moved me. Nureyev, sitting alone in the office of the French Police Department at Le Bourget Airport, had to decide which door to take to leave the office. Would he leave via the back door and choose freedom, or would he leave through the main door, back into the hands of the Soviet representatives? They had told him, amongst other things, that he would never see his mother again if he chose freedom. We knew, of course, which door he would choose, but nevertheless, the tension throughout the airport scenes was gripping. As we sat there waiting for him to make his decision, however, the filmed location changed. We were transported back to Ufa, where Nureyev grew up and where he took his first dance lessons. In this flashback the young Nureyev entered the Ufa studio and his teacher asked his mother to leave. The young Nureyev began to dance a folk dance—it was performed so well by a little boy playing Nureyev aged eight or so. But as Farida disappeared down the corridor we knew that the choice had been made way back there in Ufa.
The scene in the dance studio was not the only time the film flashed back to Nureyev’s earlier life. I found these flashbacks, which were in black and white rather than the colour of the main footage, quite mesmerising. They were evocative and developed the storyline in an inspired way.
In the movie I really enjoyed meeting Clara Saint played by Adèle Exarchopoulos. As the woman who befriended Nureyev and then was instrumental in facilitating his defection, she has always seemed a mysterious character. She was somewhat mysterious, or perhaps reserved in personality, in this movie too but it was interesting to have a three dimensional reading of her.
Fiennes, the director, played Alexander Pushkin, Nureyev’s main teacher at the Kirov school and the man who, with his wife, accommodated Nureyev in their St Petersburg apartment during a momentous time in his early dancing life in St Petersburg. Fiennes’ portrayal was restrained and it was hard to know what he really thought of any situation in which he found himself. I had to wonder why he didn’t react a little more strongly to his wife’s sexual relationship with Nureyev, which was made very clear to us. But then maybe the real Pushkin didn’t mind?
Oleg Ivenko, a dancer himself, played the grown up Nureyev and we saw some respectable dancing from him. I couldn’t help but think, however, that his dancing owed a lot to Nureyev whose approach, all those years ago now, to turns, jumps, manèges and the like changed the look of male dancing forever. Having said that, it was interesting to see Nureyev himself in the credits (in dancing footage that had been reduced to minuscule size) and to realise that his technique was really quite raw in many ways.
And the moment that made me smile? After negotiating his way through the crowd at Le Bourget, not to mention managing the ongoing harassment of the Soviet representatives, Nureyev finally reached the office of the Police Department. ‘Do you have a cognac?’, he asked. And of course, being French, they did.
A film well worth seeing!
Michelle Potter, 30 July 2019
My most recent writing on Nureyev was for the printed program for the 2018 visit to Brisbane by Teatro all Scala from Milan. Here is a link to that article.
Suppose somebody took a stem of orchids, choreographed them into women and tossed their experiences, emotions and memories deep into a seamlessly danced stream of consciousness that we might peer into and look for reflections from the depths. Somebody did.
Orchids, choreographed by Sarah Foster-Sproull, is a continuously flowing
hour-long dance performed by a cast of seven—six
adult women (Katie Burton, Joanne Hobern, Tori Manley-Tapu, Rose Philpott,
Marianne Schultz and Jahra Wasasala) of contrasting age and physique, representing
us all in the complexity of light and shade in our experiences. In a choreographic
masterstroke, a young girl (Ivy Foster, the choreographer’s daughter), serenely evoked
our past as a child, and our hope for a future.
The work, ‘an allegory for the dark and light masks of the female psyche’, presents emotions and states of being, rather than storylines with cadence. That openness of texture invites the audience to recognise, interpret, contemplate, empathise, sympathise with and wonder at the undercurrents of meaning in the imaginative movement imagery.
There’s a sculptural quality to the torsos, and much use is made of Sproull’s hallmark hand gestures that seem like a celestial signing of some unspoken speech, a pointing finger that suggests a location or an event, but also asks a question, leaving it unanswered. These motifs always remind me of the account I once read of a 116 year old Japanese woman lying in her bed, patiently awaiting her moment of departure, and performing for her family gathered around ‘her second-to-favourite hand dance.’ (One can only wonder how many hand dances she knew, and what she was saving her favourite one for…perhaps
for the afterlife?)
The sequence in Orchids has episodes of solo, duo and larger groupings that suggest woman alone, mother and daughter, sister, friend, rival, confidant, devotee. Much of the movement reflects individuals’ personal experiences with strong emotional force and sometimes surprising dynamic attack, but there are also hints of wider cultural resonance in reference to various female
deities or spiritual forces. I believe I recognised one of those to come from Indian
Hindu mythology—with Shakti, the goddess of many aspects including the
strength of a male capable of stamping out underfoot the demon devil of ignorance.
Music composed by Eden Mulholland had percussive clarity that helped shape the work, and was at one point used as accompaniment, a pluck and two strums, for what suggested a Portuguese fado song about to be danced, but then morphed into more sensuous strings for an all-female Zorba’s dance. A most striking image was the ray of the performers’ fingers shaped like a halo round the face of young Ivy Foster which resonated as the Virgin Mary of Guadalupe, a beacon of hope so desperately believed in by millions of Mexican pilgrims.
The dance follows you home to study the orchids flowering in a pot on your window ledge, to read their folds of petals, their crevices of secrets, their shadows that hide hurt on the underside, beneath the hope that shines light on the upside.
Chocolate completes the quartet of shows
choreographed these past few years by Sacha Copland for her Java Dance Company.
Labelled the Artisan series, ‘a culinary investigation into culture’, each work
has been themed for one of the undeniable essentials of a good life—bread (Rise), wine (The Wine Project), cheese (The
Creamery) and now chocolate (Chocolate).
(I’ll have a
little of everything thanks. We won’t complain about the omission of coffee as
that might sound greedy. I just need the one cup each day but it has to be
good. Today’s cafes echo the coffee houses of earlier times and there are rich
threads of social history one could add into the brew. But perhaps Sacha is a
tea drinker? Not that I don’t love a good cup of tea, mind you, and history is
full of that beverage too. Maybe Japan and India and China would score a scene
each? Maybe there’s a second Artisan series still to come?)
A distinctive feature of this series has been the inclusion of musicians onstage and moving … Tristan Carter on violin, and sundry percussion, Charley Davenport on cello and sundry other percussion, with the three dancers, Emma Coppersmith, Lauren Carr and Ella Williams, smooth movers all. The performers mix and match and interchange, helping each other with an instrument here, a song there, a dance and some devilment. A mood of lightheartedness, gratitude for the goods, scenes of what happens when excesses take over, and the sweetness of getting life’s balance right have flavoured each of the earlier seasons.
The usual demarcation
of Players and Audience is deliberately deconstructed. Described as ‘Immersion’
dance theatre, the term signals a more-than-token amount of audience
interaction. The timing of that exchange still has to be earned however, if
it’s to be effective, and kept in proportion to the more structured part of the
performance. My impression this time was that the performers in Chocolate, right from the start, were
in direct eye contact anticipating participation of the audience perhaps rather
too soon and too eagerly?
instalments the artisan skills and actual processes of making, proofing,
testing, producing and consuming the goods were all acted out on stage. I
learnt things I hadn’t known, and laughed to recognise how close to home our
habits are. Certain scenes reminded me of paintings by Breugel, Vermeer, de
Hooch, Lowry and Ben Nicholson. There seemed to be a framework for hints at
story along the way—ambition and jealousy can be encountered in any kitchen or
vineyard, discreet passions experienced in the dairy, arguments can break out
in the cellar, peace-making attempted on the factory floor. With troubles
resolved, the earlier dances have steered towards a finale of celebratory
atmosphere and generous sharing of the goodies with audience members.
Chocolate seemed less researched and lighter throughout in content of allegory and substance than the other pieces had been. It needed a stronger story line—but a distinctly subdued atmosphere did build up for the enigmatic ending when many large bags full of cocoa nibs were slowly tipped all over the stage and onto the reclining body of one of the dancers till she lay almost buried beneath them. Maybe that was suggesting a careless use of produce, back-breaking labour for workers, exploitation of human resources, and a lament for lack of responsibility for the environmental after-effects of crop production? I may have imagined all that, but a paragraph or three in the program would have helped to anchor the thinking and choreographic intention of this unusual, inventive and enterprising work.
A note from the
choreographer quotes Thomas Merton: ‘Here is an unspeakable secret: Paradise is
all around us and we do not understand.’ I googled for the reference, and found
there that Thomas was the son of New Zealand-born artist and musician, Owen
Merton. So I did learn something I hadn’t known before. Thanks Sacha.
Jennifer Shennan, 14 July 2019
Featured image: Cello Embrace from Chocolate. Java Dance Company, 2019
Please consider supporting the Australian Cultural Fund project to raise money to have hi-res images made for a book on the career of designer Kristian Fredrikson, which is heading towards publication. See the project, which closes on 30 July 2019, at this link.[Update 1 August 2019: Project closed]
29 June 2019. State Theatre, Victorian Arts Centre
This production was yet another re-imagining of Swan Lake. It centres, we are told, on the choice between good and evil and on connections to our childhood fears and nightmares, all against ‘a Machiavellian family backdrop’. It began with a short film clip in which the story we were to see on stage unfolded before us as moving image. Although I baulked slightly at the robotic depiction of the King and Queen, and at the von Rothbart/Black Swan/evil character with her black sunglasses, lovely to watch were the Prince as a little boy playing with his fair-haired companion dressed all in white (the future Odette/White Swan), and the dark haired child dressed in black (the future Odile/Black Swan) who tried to intervene.
The work closed dramatically and had me on the edge of my seat as a large dark cloth swirled across the stage engulfing the dead bodies that lay there.
In between the opening and closing scenes it was a different matter. The storyline was easy to follow, there was some good strong dancing, and one or two characters stood out for me. I especially admired the dancing and acting of Daniele Delvecchio as the Prince’s Confidant (Benno figure?). And I admired the stage presence and ‘architectural’ choreography of the Black Swan and the Archangels of Darkness who often accompanied her.
But I truly disliked the way the Prince seemed so goofy, standing there with bent shoulders and head down. Yes, his father was trying to make a man of him, the notes tell us, but I wished he could have been a little more princely in bearing. On the whole I found the choreography quite bland and I also found the way Tchaikovsky score was chopped around a little hard to take.
Still it’s always interesting to see a new take on an old classic. Some are just better than others.
Please consider supporting my Australian Cultural Fund project to raise money to have hi-res images made for my book on the career of designer Kristian Fredrikson, which is heading towards publication. See the project, which closes on 30 July 2019, at this link. Donations are tax deductible.[Update 1 August 2019: Project closed]
The Dinner Party has had a couple of manifestations. Choreographed by Natalie Weir for Expressions Dance Company, it was shown in 2015 as The Host. I suspect, however, that the inspiration for it can be traced back much further to 1989 when Janet Karin commissioned Weir to make a short work for the National Capital Dancers, which was also called The Host. The current production, which opened in Brisbane in May and is now on a national/regional tour, is probably somewhat different in impact from the 2015 showing, given that Weir no longer directs Expressions. The company is now under the directorship of Amy Hollingsworth and her dancers are a quite different group, which definitely adds a new feel to the company.
I was a little taken aback by The Dinner Party. The storyline, or theme, explores the manipulative side of human beings. The character of the Host (Jake McLarnon) attempts to wield power over his four guests, although not all of them wish to be manipulated. The work thus lends itself to a choreographic display of power, and power is what we get. One of Weir’s strengths as a choreographer has always been an ability to combine movement in unexpected ways, especially in duets or with other small combinations of dancers. We saw those unexpected movement combinations in The Dinner Party, not only between dancers but also between dancers and the table and chairs that made up the set. There was a lot that was acrobatic, hugely energetic, and definitely powerful.
It was a thrill to see Bernhard Knauer, whose work with Sydney Dance Company I had admired over several years before he moved on. He played the role of the Rival and his solo on the table, and his duet with McLarnon towards the end of the work, were highlights.
But overall I was taken aback because for me the exploration of the human psyche through choreographed interpersonal relations between the cast members seemed, in the end, to be the least important part of the work. There seemed just to be a lot of gymnastic-type dancing around or on a table, which didn’t advance the theme. I did, however, enjoy the costumes by Gail Sorronda, which captured the intrinsic qualities of each of the characters, and the lighting by Ben Hughes, which cast great light and shadow at appropriate times.
Michelle Potter, 22 June 2019
Afterthought: it would have been helpful had there been a cast list (at least) somewhere in the theatre foyer, if no handout was being offered. The program was available online (with a character listed who did not appear in Queanbeyan), which I looked up after the show. But not everyone goes to the company’s website prior to or after the show.