6 November 2017, Royal Opera House, Covent Garden, London Two new works and one revival made up the Royal Ballet’s most recent triple bill. The opener, Twyla Tharp’s The Illustrated ‘Farewell’ should perhaps be described as new-ish rather than new, since it also drew on material Tharp had made way back in 1973 in a work called As time goes
5 November 2017, Lilian Baylis Studio, London There was much that was abrupt in Tim Podesta’s Shadow Aspect, which featured guest artist Mara Galeazzi and dancers of the Welsh company, Ballet Cymru. The lighting came on and off abruptly, for example, and the music changed abruptly from loud and powerful to more gentle when the music was punctuated by a singing
4 November, Circa Theatre, Wellington Reviewed by Jennifer Shennan What a lucky stroke that this little show Lobsters ran for a fortnight season at Circa Theatre (most dance seasons here span two or three days, some are even oncers). That gave us a chance to return for several repeat viewings, and there were fresh revelations on each occasion. A late-appearing
4 November 2017, Sadler’s Wells, London This triple bill from Birmingham Royal Ballet began with Arcadia, a new work from company dancer Ruth Brill, continued with Michael Corder’s take on Le baiser de la fée, and concluded with David Bintley’s Still life at the Penguin Café, a work whose title has intrigued me for years, although this was my first opportunity
In October the Canberra Theatre Centre released its ‘Collected Works 2018’. Canberra dance audiences will have the pleasure of seeing Australian Dance Theatre’s The Beginning of Nature, which will open its Australian mainstage season in Canberra on 14 June 2018. Canberra Theatre Centre’s program also includes a season of AB [Intra] from Sydney Dance Company and Dark Emu from Bangarra
28 October 2017, Ken Unsworth Studios, Alexandria (Sydney) I am a long-term admirer of Ken Unsworth’s sculpture, especially his various suspended stones sculptures. I have often wondered what it would be like to give those stones a push to see what motion would ensue. Well, Restraint(s), a work that should probably be described as performance art, put my mind at
21 October–4 November 2017, Circa Theatre, Wellington Reviewed by Jennifer Shennan Edward James, wealthy English arts patron, eccentric and capricious, good on him, commissioned Salvador Dali to create work—the famous Lobster telephone (also the Mae West lips sofa…) were among the results. Of four telephones produced, one is in the collection of National Gallery of Australia—so it follows, probably, that
21 October 2017, Haig Park, Canberra. Floriade Fringe This year Floriade, Canberra’s annual floral display in celebration of the arrival of Spring, got an addition—Floriade Fringe. Spread over three days, 19–21 October, it was, like all Fringe Festivals, a mixed bag of offerings across a range of alternative endeavours in the arts, and in assorted other areas. But it also had an
18 October 2017 (matinee), State Theatre, Arts Centre, Melbourne Choreography: Wayne McGregorVisual concept: Olafur EliassonMusic: Jamie XXInspired by The Tree of Codes, a novel/artwork by Jonathan Safran Foer It is absolutely undeniable that Tree of Codes, a dance highlight at the 2017 Melbourne Festival, is an astonishing act of collaboration. I sat through the entire 70 minutes of the show wondering about
6 October 2017. Q Theatre complex, Auckland. Choreography: Carol Brown Reviewed by Jennifer Shennan This layered work of a ‘reactivated archival material from former Bodenwieser dancers including Shona Dunlop MacTavish, Hilary Napier and Hilde Holger’ is presented as an itinerant event with audience members following dancers and narrator as they move through the out-back, off-stage spaces of the Q Theatre