22 October 2025. Roslyn Packer Theatre, Walsh Bay (Sydney)
I loved the title of Sydney Dance Company’s latest production—Continuum. It was a triple bill of works from three choreographers, Stephen Page, Rafael Bonachela and Tra Mi Dinh and It encouraged me to think on the development (and continuation) of the choreographic and dancerly art that has characterised Sydney Dance Company over the several decades of its existence. Page danced with the company in its earliest days before going on to direct Bangarra Dance Theatre; Rafael Bonachela is the company’s current director; and Tra Mi Dinh, the youngest of the three, was the recipient of the Keir Choreographic Award in 2022, which resulted in a commission to her from Sydney Dance Company.
The evening opened with Bonachela’s Spell, a work he says was inspired by singer Alice Smith and her cover presentation of I put a spell on you. Along with this cover, extra music included a choral arrangement by Olafur Arnalds, and a suite of three songs for solo violin from composer Bryce Dessner. In his program notes Bonachela commented on the impetus he derived from the music and noted that he was aiming to build ‘elements of compression and release within the choreography to build a series of dances that are spells.’
Although I’m not sure that the notion of spells came across strongly enough, the work clearly showed the movement style we have come to expect from Bonachela—powerful movement that was filled with surprising lifts and twisting bodies. But there were quite a number of sections that took place in strong darkness and I have never really understood why this is such a common occurrence these days. Having said that, a spectacular sequence occurred towards the end when the colour red dominated, not just in costumes (Kelsey Lee) but in lighting (Damien Cooper) and in a haze of red that continued to descend from the upper part of the space.
But for me the highlight of Spell was a section early in in the piece when two groups of four dancers engaged in unison work, sometimes together, at other times as two separate groups, and in much brighter lighting. I have always admired Bonachela’s ability to create unison movement, and the dancers responded beautifully to the changing structural groupings, as they always do.
After a brief pause the second work, Tra Mi Dinh’s Somewhere between ten and fourteen, took the stage. The opening few minutes consisted of a flurry of artists dancing together. The audience loved the opening and cheered as the curtain went up and the dancing was on show. The opening sequence also opened up Dinh’s choreographic style to those of us who were seeing her work for the first time. Pretty much every part of the body came into play, but there was strong emphasis on arms—lifting, bending, dropping, linking. And as a whole the choreography was fast, complex and fascinating to watch.
Somewhere between ten and fourteen is, we are told, ‘a study on dusk’ and the ‘transient yet expansive moments between day and night’. The variety of blue colour in the costumes (Aleisa Jelbart) recognised this as did, I believe, the fast-changing nature of the choreography. I felt exhausted, but thrilled, at the end of the work and I look forward to seeing more of Dinh’s work.
The third work, Unungkati Yantatja: one with the other, which centred on the notion of ‘the universality of breath’, came from Stephen Page working with an onstage group of musicians including William Barton on yidaki (Barton also sang) and the Omega Ensemble. In an unusual creative move (unusual for Page) the work began with examining the ‘story’ behind the music, which was already written (Page noted in the program that he had only rarely worked with existing music). But for me the major fascination of the work was that it was a major collaborative venture with, in addition to the live music, exceptional designs (Jennifer Irwin) reflecting Indigenous patterns and a boomerang-inspired section of the setting from Jacob Nash.
It was great to see Page’s work once more with its very grounded movement, and his ongoing interest in collaboration as an intrinsic element in a dance work. I was also especially thrilled to see Ryan Pearson now dancing with Sydney Dance Company after an earlier association with Bangarra. Pearson’s contribution to Page’s work was exceptional and was made especially clear in a solo he performed towards the end of the work. He danced with such a strong immersive quality as he engaged with the choreography and the others on stage.
Continuum was an engrossing production. Each work was quite different, and it was absorbing to watch three quite different choreographic styles and methods of engaging with music and design.
Michelle Potter, 25 October 2025
Featured image: Opening scene from Tra Mi Dinh’s Somewhere between ten and fourteen, Sydney Dance Company, 2025. Photo: © Daniel Boud
I was a guest of Sydney Dance Company at this performance.