24 June 2022, online screening Ahead of any further remarks, I have to make it quite clear that basically I am a fan of the work of Alexei Ratmansky. I have been writing about his productions on this website since 2009. Here is a link to the Ratmansky tag. His interest in creating new versions of well-known works has been
10 June 2022. Playhouse, Queensland Performing Arts Centre, Brisbane Li Cunxin has been at the helm of Queensland Ballet for close to ten years and the company’s latest production, an absolutely mind-blowing triple bill called Li’s Choice, is in celebration of those ten years of masterful leadership on Li’s part. The program opened with Greg Horsman’s Glass Concerto, a work
2 June 2022. Roslyn Packer Theatre, Sydney It has been Rafael Bonachela’s long-term ambition to have return seasons of his 2018 work ab [intra]. He achieved that ambition this year with a well-received season in France and, more recently, with a Sydney season that opened on 2 June at Roslyn Packer Theatre, Walsh Bay. Return seasons for contemporary works are
1 June 2022. Lennox Theatre, Riverside Theatres Parramatta What a thrill it was to see Francesco Ventriglia’s exciting choreography for his latest work, Galileo. The performance was absolutely absorbing to watch from beginning to end. Inspired by the amazing variety of ideas that Galileo Galilei studied in his life’s work as a scientist in late 16th to early 17th century
My talk for Melbourne’s Johnston Collection, Kristian Fredrikson. Theatre Designer Extraordinaire, will finally take place on 22 June 2022 just one year later than scheduled. No need, I am sure, to give a reason for its earlier cancellation. I am very much looking forward to presenting this talk, which will include short extracts from some of the film productions for
26 May 2022. The Playhouse, Canberra Theatre Centre The constant in productions staged by QL2 for Quantum Leap, the organisation’s auditioned youth dance ensemble for ages 14-26, is the way the dancers are choreographed into groupings. The nature of the groupings varies of course from choreographer to choreographer and work to work, but we can always see groups forming and
Two dancers in search of a choreographer,travelling side by side, up their hills and down,moving well, tenants in common of their darker times,the set is the sides of a box they can shift about, climb through,sit on, sit in, drape over, lie in,though not a coffin since they are alive and determined to work through their times,surviving the lock-down—’We’re all
My first encounter with the choreography of Melanie Lane was in 2019 when her work WOOF was part of a Sydney Dance Company triple bill called Bonachela/Nankivell/Lane. WOOF, which two years earlier had been a hit in Sydney Dance Company’s New Breed program, was for me the outstanding work on the 2019 triple bill. I had also seen Lane perform,
7 May 2022 (matinee). Joan Sutherland Theatre, Sydney Opera House David Hallberg has given his directorship of the Australian Ballet a name, a conceptual idea, for us to ponder—’A New Era’. The company’s latest production, Kunstkamer, brings reality to Hallberg’s concept. Kunstkamer is a complete change for the Australian Ballet. It is a magnificent, brilliantly conceived, exceptionally performed work giving
Ausdance ACT has welcomed the beginning of Dance Week with an opening event held at Gorman Arts Centre, Canberra, on International Dance Day, 29 April. Following this celebratory opening, the ACT organisation has programmed a varied selection of events over the week until 8 May. The program reflects the current focus in the ACT on community dance and dance for