7 October 2017, Q Theatre, Auckland. Reviewed by Jennifer Shennan Tempo Dance Festival has always had a program slot, Y Chromozone, for an exclusively male line-up of choreographers and dancers to do their thing. I remember it in previous years being overlong, over compered, and in need of more insightful programme notes—but as one who thinks gender has little to
5 & 6 October 2017, Q Theatre, Auckland, Tempo Dance Festival Reviewed by Jennifer Shennan Tempo Dance Festival is an energising fortnight every October at the Q Theatre complex and surrounds, when Aucklanders have a sea of performances and workshops to navigate. This year’s theme marked important anniversaries in dance—Limbs Dance Company at 40, New Zealand School of Dance at
13 October 2017, Theatre 3, Canberra This year the annual Chaos Project from young Canberra dancers aged from 8 to 18 had the theme of difference. Alison Plevey, currently acting artistic director of QL2 Dance while Ruth Osborne is undertaking research overseas with a Churchill Fellowship, writes, ‘…it explores how we are the same, what makes us different, how do
4 October 2017. Q Theatre, Auckland. Tempo Dance Festival. Choreography Louise Potiki-Bryant Reviewed by Jennifer Shennan Louise Potiki-Bryant gave the premiere and sole performance of Ngaro, the solo work that results from her time on the prestigious Marti Friedlander Residency in New York. (Friedlander, a child orphan refugee to New Zealand from war-torn Europe, became one of the country’s leading
7 October 2017, Courtyard Studio, Canberra Theatre Centre I’ll reverse the usual order of things here and put the verdict first. It comes from my young companion, Ollie, aged 8, who said as we left the Courtyard Studio, ‘It was just too good. I loved it and would like to see it again.’ Liz Lea’s Reef UP! is a show
30 September 2017, Playhouse, Canberra Theatre Centre Gudirr, Gudirr is a solo show, a dance format that we don’t see all that often. A solo show needs a strong performer for a start—someone who single-handedly can hold the audience’s attention for an hour or so. Dalisa Pigram did exactly that in Gudirr, Gudirr. But just as importantly, a solo show
Details of the Australian Ballet’s 2018 season were revealed in September and this year Canberra audiences can anticipate a program from the national company. The Merry Widow, which David McAllister has called ‘a fantastically well-constructed soufflé’, was created for the Australian Ballet in 1975 as the first full-length production commissioned by the company. It will open at the Canberra Theatre
My recent tribute to Tamara Tchinarova Finch brought to light a letter Tchinarova wrote to Xenia Borovansky in 1980 in which she discussed, amongst other things, her thoughts on Xenia Borovansky’s contribution to the growth of ballet in Australia. With permission from the various stakeholders, I am publishing the letter in this post. It is an interesting letter from many
I was saddened to learn of the death of Tamara Tchinarova Finch on 31 August 2017 in Spain at the age of 98. Her story is told in her autobiography Dancing into the unknown and this post is simply a short, belated tribute to her, which includes details of a rather amazing occurrence with which I was fortunate enough to
24 September 2017. The Playhouse, Victorian Arts Centre, Melbourne The winners of the 2017 Australian Dance Awards were announced in a ceremony in Melbourne on 24 September. The Playhouse at the Victorian Arts Centre was packed for what turned out to be an occasion with strong emotional and political overtones. The evening was hosted by cabaret star Sarah Ward and