Dance diary. May 2019

The news for May is headlined by the announcement that David McAllister, artistic director of the Australian Ballet since 2002, will retire at the end of 2020. McAllister has always been generous in situations that are about dance but fall outside performances. He launched, for example, two of my books, A Collector’s Book of Australian Dance and Dame Maggie Scott.

New Zealand School of Music + Dancers

24 May 2019. The Hub, Victoria University, Wellington     reviewed by Jennifer Shennan Talking about Music, Dancing about Architecture. A striking performance by New Zealand School of Music last Friday brought instrumental music and dance into unusual proximity. Those who, like myself, believe in the vibrancy of live music and dance interactions are drawn to the alchemy that can result from

NZSD Choreographic Season 2019. NZSD dancers in 'Huddle'. Photo: © Stephen A'Court

Orbiculus. New Zealand School of Dance Choreographic Season

22–28 May 2019, Te Whaea, Wellington reviewed by Jennifer Shennan Thirteen short works comprise this program of new choreography by graduating contemporary dance students at NZSD, directed by Victoria Columbus. In past years, such a performance, while always spirited, has proved challenging to review since each piece, albeit of different style and tenor, with many contrasting music sources and costume

The Masters Series. Queensland Ballet

17 May 2019. Lyric Theatre, Queensland Performing Arts Centre, Brisbane One of the strongest aspects of Queensland Ballet’s programming at the moment is Li Cunxin’s masterful ability to curate an engrossing triple bill. This is no easy task, but it is something that has characterised the work of the best companies across the decades. The Masters Series, the current Queensland

Silvia Saint-Martin and Simon Le Borgne in 'Speak for yourself'. Paris Opera Ballet. © 2019 Agathe Poupeney/OnP

LEÓN/LIGHTFOOT/VAN MANEN. Paris Opera Ballet

5 May 2019, Palais Garner, Paris This short and sparse triple bill, consisting of two works from the team of Sol León and Paul Lightfoot, along with a single work from Dutch master Hans van Manen, showed more than anything the extreme physicality of the dancers of the Paris Opera Ballet. The men in particular displayed a muscularity that was

Romeo and Juliet. Sarah Lamb as Juliet, Vadim Muntagirov as Romeo. ©ROH, 2015. Photographed by Alice Pennefather

Romeo and Juliet. The Royal Ballet

4 May 2019 (matinee). Royal Opera House, Covent Garden, London It is always exceptional to see a work by a choreographer who is not the familiar one from one’s previous experiences of that work. Having seen John Cranko’s production of Romeo and Juliet countless times, as performed by the Australian Ballet, along with several versions by other choreographers, the Royal

Scene from 'Sigan', New Zealand Dance Company, 2019. Photo: © John McDermott

Kiss the sky. New Zealand Dance Company

1 May 2019. Opera House, WellingtonReviewed by Jennifer Shennan New Zealand Dance Company’s Kiss the Sky is a highly energised and energising program of three works that appealed to an enthusiastic audience. Production values are always strong with this company, and the six dancers are all smart, sharp, sophisticated and cleanly co-ordinated movers who share singular commitment. While the three

Detail on a vase, Royal Apartments, Palazzo dei Normanni, Palermo

Dance diary. April 2019

When Elizabeth Dalman’s reign as founding artistic director of Australian Dance Theatre came dramatically to an end in 1975, she went to Italy where she spent the next decade. Not long after her return to Australia she moved to a new home on a property on Lake George, close to Canberra. There she created Mirramu Creative Arts Centre, which has

Alessandra Ferri and Federico Bonelli in 'TUesday', 2019. Photo: © Marco Brescia and Rudy Amisano, Teatro alla Scala

Woolf Works. Teatro alla Scala

20 April 2019. Teatro alla Scala, Milan Sitting in the so-called ‘first balcony’ of Teatro alla Scala in Milan gave me a view of Wayne McGregor’s Woolf Works that I have never had before. In I now, I then, the first act based on Virginia Woolf’s Mrs Dalloway, I saw more clearly the structural elements of the set, the darkness

Artists of Sydney Dance Company in Rafael Bonachela's 'Cinco', 2019. Photo: Pedro Greig

Sydney Dance Company turns 50

Below is the text of an article I was commissioned to write about the Canberra season of Sydney Dance Company’s first program for 2019, Bonachela/Nankivell/Lane. It was meant also to include a note on the company’s 50 year history. Sadly and disappointingly, a truncated version, with no images, appeared in The Canberra Times. It was not what I was led