Innovation—contemporary program 22 November 2018. Te Whaea, Wellington by Jennifer Shennan This Graduation season offers two programs, Tradition (Ballet) and Innovation (Contemporary Dance), on alternate nights. Does this suggest that new choreography is expected only in the latter but not in the former? If anything, the opposite swing of the pendulum is needed, with a balance of heritage and newly
Tradition—classical program 21 November 2018. Te Whaea, Wellington by Jennifer Shennan New Zealand School of Dance is one school with two discrete streams, Classical Ballet and Contemporary Dance. Their Graduation season is always an uplifting affair as the fledgling dancers leave the nest where they have spent the past three years in intensive training. We can guess they’ll each be
17 September 2018 (matinee). Joan Sutherland Theatre, Sydney Opera House The high point in this new production of Spartacus is the set design by French artist Jérôme Kaplan. The costumes are, for the most part, beautifully designed too, but the sets are exceptional. In all three acts the overriding approach is a minimalist one, both in structure and colour. The
Douglas James Wright, dreamer of dances by Jennifer Shennan Douglas Wright, dancer, choreographer, writer, poet, visual artist, has died at the age of 62. An obituary is normally about the deceased, but I begin with my declaration of conflict of interest (actually, deeply shared interest)—namely, that Douglas is the single most important artist in my life. His fearless vision through
7 November 2018. Lyric Theatre, Queensland Performing Arts Centre, Brisbane I thought I was reasonably familiar with the Nureyev production of Don Quixote, having seen the Australian Ballet’s production multiple times. But no! What La Scala Ballet gave us on its first-ever tour to Australia seemed like a completely different ballet. It was a very European production, in part due
Belong. QL2’s Chaos Project for 2018 Every year Canberra’s young dancers audition for the Chaos Project staged by QL2. The umbrella name suggests the chaotic situation with which the project begins—in 2018 there were 45 young dancers, boys and girls, aged from eight upwards. But of course by the time the show hits the stage the chaos is gone and,
17 October 2018. Roslyn Packer Theatre, Sydney On a double bill program it would be hard to find two dance works as diametrically opposed, or so it seemed on the surface, as Rafael Bonachela’s Frame of Mind and Antony Hamilton’s Forever & Ever. Together they made up Sydney Dance Company’s newest season, which goes under the umbrella name of Forever
12 October 2018. The Street Theatre, Canberra. Canberra Dance Theatre Stephanie Burridge first choreographed MIST in Singapore (where she lives and works) in 2016. She came to Canberra to oversee its staging as part of the 40th anniversary celebration for Canberra Dance Theatre, where Burridge was artistic director from 1978 to 2001. Its original cast was Kailin Yong, violinist and
I was moved reading Jennifer Shennan’s recent review from Auckland’s Tempo Festival, in which she discussed Douglas Wright’s latest work, M_Nod, and in which she also referred to Wright’s current health issues. My mind went racing back to 1993—it was the year that Wright’s Gloria was first performed in Sydney as part of a Sydney Dance Company season. Those were the
5–13 October, 2018. The Vault, Q Theatre, Auckland. Tempo Dance Festival Reviewed by Jennifer Shennan Between Two is a tandem of two 15 minute choreographies. The first, Tipu, is by Kelly Nash. The second, M₋Nod, is by Douglas Wright. Although not designed as such, the two works act as prologue and epilogue to each other. It is a perfect program. Less