EAT Canberra’s youth dance organisation, QL2 Dance, runs an annual project for younger dancers in Canberra and beyond. This year, with a program called EAT, the theme was food, including marketing issues associated with what we eat. For various reasons, I looked with different eyes this year and was impressed with how the choreographers, all professionals working with contemporary dance,
19 October 2016. Roslyn Packer Theatre, Walsh Bay, Sydney The latest program from Sydney Dance Company—a double bill with the title Untamed—showed once again what a high energy, physically accomplished company Sydney Dance is. Gabrielle Nankivell’s Wildebeest opened the evening and opened it in an extraordinary manner with a solo from Bernhard Knauer. ‘The wildebeest as image morphs easily between
15 October 2016. National Portrait Gallery, Canberra The National Portrait Gallery is currently showing a number of images from its performing arts collection—mainly images of dancers but also musicians and designers. Along with Jenny Sages’ wonderful image of Irina Baronova ‘passing on the torch’ to an unknown (seen from the back only) young dancer, there are images of Steven Heathcote,
On Dancing’s reviews of John Neumeier’s extraordinary choreography, Nijinsky—both the recent Australian Ballet production, which I have not seen, and the link to that of 2012 for the Hamburg Ballet in Brisbane,* are welcome reminders of the Hamburg company’s stellar achievements. Telling reference is made to the circular shapes incorporated into the set design, echoing paintings by Nijinsky—and lucky we
In September I had the pleasure of visiting the National Gallery of Victoria’s recent exhibition of works by Edgar Degas, entitled Degas. A new vision. I enjoyed discovering his non-dance paintings and drawings, in particular those that gave an insight into his family and social life. But I especially enjoyed some of his lesser known (to me anyway) dance works,
29 September 2016, Ralph Wilson Theatre, Gorman Arts Centre, Canberra Wiggle Room? The name arouses curiosity. But on arriving at the Ralph Wilson my heart sank. ‘This is a standing show,’ we were told. I rather like sitting down to see a show. But, as it happened, the show was a stunner and, for ageing bodies like mine, there were
18 September 2016, National Portrait Gallery, Canberra Canberra’s National Portrait Gallery continues to commission short dance works as public program events associated with its exhibitions. Other moments, made in response to a photographic exhibition, Tough and tender, was given twelve performances on two successive weekends by dancers from QL2—Gabriel Comerford, Dean Cross and Eliza Sanders. The portraits on display in
7 September 2016, State Theatre, Victorian Arts Centre, Melbourne Alexandre Riabko, guesting with the Australian Ballet in the lead role on the opening night performance of John Neumeier’s Nijinsky, has been dancing that role since at least 2003 when Hamburg Ballet guested in Paris. He may well have danced it even earlier. At the work’s world premiere in Hamburg in
Elizabeth Dalman When I interviewed Elizabeth Dalman in July for the National Library of Australia’s oral history program she told me, off the record, of a potential performing opportunity that she hoped might come her way. Well, the potential opportunity is now a reality and Dalman is currently in Ireland rehearsing for the role of the Mother in a new
25 August 2016, Nishi Building, Canberra Strings Attached, the debut show from Canberra’s new contemporary dance company, Australian Dance Party, is a knockout. The concept behind the show, devised by the ‘Party Leader’, dancer Alison Plevey, sounds simplistic: an investigation of the relationship between music and dance in a collaboration between four dancers and six musicians from the Canberra Symphony