by Jennifer Shennan Memories from across 40 years of life and work and people at New Zealand School of Dance were triggered by a recent gathering. Christine Gunn has been on the faculty at New Zealand School of Dance as classical ballet tutor for 40 years. A celebratory gathering took place at Te Whaea, the school’s venue, in early September
The Australian Ballet’s 2020 season, announced earlier this month, looks to be the most interesting the company has offered for years. I was thrilled to see that Yuri Possokhov’s Anna Karenina was on the list. Although I haven’t seen this particular work I was lucky enough to see San Francisco Ballet perform Possokhov’s Rite of Spring back in 2013. It
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
Pure Dance A performance highlight for August was undoubtedly Natalia Osipova’s Pure Dance, a program of six short works curated by Osipova and featuring Osipova and David Hallberg, along with two guest artists Jonathan Goddard and Jason Kittelberger. A link to my review of the show, written for Limelight Magazine, appears below. Of course Pure Dance reminded me a little
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
16 August 2019, Opera House, Wellington reviewed by Jennifer Shennan 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
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
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
The Fredrikson Project At the beginning of July, I set up a funding project via the Australian Cultural Fund in an effort to raise enough money to pay for digitisation of designs for inclusion in my forthcoming book on the life and career of designer Kristian Fredrikson. Following Fredrikson’s death in 2005, the executors of his estate placed a large
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