Unintentionally, this month’s dance diary has a focus on retirements, resignations, the act of moving on and other activities associated with change. Dance is a moving art form. Adam Bull, principal with the Australian Ballet since 2008, has announced his retirement from the company at the end of June 2023. Bull has danced major roles in classical and contemporary works
This post contains two reviews of the 2023 Don Quixote. The first and longer one is of the digital screening; the second, shorter one refers, with particular reference to one dancer, to a matinee performance I saw in Sydney towards the end of the season. Digital screening, March 2023. (Filmed live on 24 March 2023, Arts Centre, Melbourne) This production
11 March 2023. Spiegeltent, Aotea Square, Te Ahurei Toi o Tāmaki/Auckland Arts Festivalreviewed by Jennifer Shennan This hour-long film screening had the creator and solo performer, Chisato Minamimura, present in the audience. It was followed by a discussion and q&a session with her, led by Shona McCullagh, artistic director of Auckland Arts Festival. The film is poignant and moving in
My review of the premiere of Ascent, the latest triple bill program from Sydney Dance Company, has been posted on Dance Australia. See this link. Two of the three items in the program were world premieres. The third, Antony Hamilton’s Forever & Ever, was first staged by Sydney Dance Company in 2018. One of the most interesting features of Ascent
9 March 2023. Kiri Te Kanawa Theatre, Aotea Centre. Te Ahurei Toi o Tamaki/Auckland Arts Festival,reviewed by Jennifer Shennan Revisor is created and directed by Crystal Pite and Jonathon Young, both highly original and hugely prolific theatre makers, movers and shakers, of Canadian provenance but now widely internationally acclaimed. The work is a knock-out tour-de-force of theatre, developed from Revizor,
4 March 2023. Everest Theatre, Seymour Centre, Sydney (in association with Sydney WorldPride Arts) KING begins with Bulgarian singer/songwriter Ivo Dimchev walking down an aisle of the auditorium and taking his place onstage in front of the still-lowered front curtain. With a keyboard in hand he starts singing in his mesmerising voice, at times as a bass, at others as
Hannah O’Neill trained as a dancer in Japan, New Zealand and Australia, before being accepted into the Paris Opera Ballet in 2011 on a seasonal contract. After another seasonal contract in 2012, in 2013 she was offered a lifetime contract and rose through the ranks until, following a performance of George Balanchine’s Ballet Imperial in March 2023, she was promoted
This month’s dance diary focuses on just one event—the 2023 Russell Kerr Lecture in Ballet and the Related Arts held in the Long Hall, Wellington, on Sunday 26 February. The fifth Russell Kerr Lecture in Ballet and the Related Arts focused on the career of New Zealand-born dancer, Patricia Rianne. Rianne’s career has been astonishingly diverse beginning in 1959 with
Choreography by Tim Harbour. Danced by Kevin Jackson to a score by George Bokaris. Kevin Jackson was a dancer with the Australian Ballet from 2003, following his graduation from the Australian Ballet School, until his retirement in 2021. What remains was created for him by Tim Harbour, also a former Australian Ballet dancer now working freelance. It was filmed in
Back in 2017 I had the pleasure of interviewing dancer and choreographer Shaun Parker for the National Library’s oral history program. In that interview Parker talked at length about his childhood in Mildura, his schooling, his interest in science, taking up dancing, his work with Meryl Tankard and the early days of Shaun Parker & Company. I had watched some