Barry Kitcher, who has died in Melbourne aged 89, is probably best known for his role as the Male (the Lyrebird) in Robert Helpmann’s 1964 ballet The Display. In an oral history interview recorded for the National Library of Australia in 1994* he recalled what he saw as the highlight of his career—taking a solo curtain call at Covent Garden
7 December 2019. Carriageworks, Eveleigh (Sydney) If there’s one thing that the 2019 New Breed program does, it is to expose the difficulties that go with creating a choreographic work. For me a choreographic work has to have some cohesion as it moves from beginning to end, and it needs to give us, the audience, something to ponder on, dream
Canberra Critics’ Circle Awards (Dance) The Canberra Critics’ Circle Awards for 2019 were announced on 19 November at the Canberra Museum and Gallery. Four dance awards were given, as follows: Australian Dance Party for the company’s production of From the Vault, choreographed and directed by Alison Plevey in collaboration with dancers, Olivia Fyfe, Stephen Gow, Eliza Sanders, Alana Stenning, and
20-30 November 2019. Te Whaea Theatre, Wellington reviewed by Jennifer Shennan NZSD’s Graduation season always displays the talent and enthusiasm of graduating dancers who, after three years’ training, are poised to venture forth and seek ways to make a professional career. Commitment and courage are needed in equal measure. Selected first and second year students are included in the casting, which
16 November 2019 (matinee). Joan Sutherland Theatre, Sydney Opera House There is one facet of Stanton Welch’s choreography that I always find admirable and exciting to watch. It is his ability to handle different groups of dancers on stage. He is able to give each group different steps to do and arrange them in different formations, while also achieving an
The Australian Ballet has just announced the promotion of Dimity Azoury and Benedicte Bemet to principal artists with the company. Azoury has particular connections to Canberra and the surrounding region region having begun her training in Queanbeyan and then at the Kim Harvey School of Dance in Canberra. Her background is described in the Australian Ballet’s media release. Dimity began
6 November 2019. Opera House, Wellingtonreviewed by Jennifer Shennan Hansel & Gretel is choreographer Loughlan Prior’s first full-length ballet, though he has a number of accomplished short works (including a memorable Lark, for Sir Jon Trimmer and William Fitzgerald), as well as choreographed films (including Memory House, for Trimmer) already to his credit. Since this premiere, another of his works, The
9 November 2019. Brisbane Powerhouse Bespoke is the generic name given to an initiative started by Queensland Ballet a few years ago to encourage new choreography. This year, which is the first year I have managed to catch the show, the selected choreographers were Lucy Guerin, Amy Hollingsworth and Loughlan Prior. Briefly, Guerin is a well-established artist working out of
6–16 November 2019, Circa Theatre, Wellington Meeting Karpovsky was created by Helen Moulder, Sue Rider and Sir Jon Trimmer, and was performed by Helen Moulder and Sir Jon Trimmer reviewed by Jennifer Shennan Now here’s something different—a play about the ballet. Sylvia, an older woman living alone, is hanging onto the memories of the 127 times in her life she
7 November 2019. The Q, Queanbeyan Matrix comprised two works, Auto Cannibal by Stephanie Lake, and Encircling Voyage by MA Bo. The program was created in Beijing over a five week period when twenty dancers, six from the Brisbane-based Expressions Dance Company and fourteen from the Beijing-based Beijing Dance/LDTX came together to work and collaborate. The Queanbeyan performance was just