Australian Dance Party in 'Lake March', Canberra 2020.

Dance diary. August 2020

  • Lake March. Australian Dance Party

Canberra’s dance companies, large and small, have always been good at making site specific works, especially in outdoor venues. The city lends itself well to such events. Canberra dance-goers will remember exceptional performances in outdoor venues from past companies such as Meryl Tankard Company and Paige Gordon and Performance Group.

Canberra’s current professional company, Australian Dance Party led by Alison Plevey, has continued the tradition with many of Plevey’s productions taking place outdoors. August saw ADP’s Lake March, a response over several weekends to the difficult situation dance companies find themselves in at present. Performing as part of the Where You Are Festival around three of Canberra’s lake areas, Lakes Burley Griffin, Ginninderra, and Tuggeranong, eight dancers and two musicians (Michael Liu on violin and Alex Voorhoeve on cello) moved in a line around the edges of the lake areas, observing social distancing as they proceeded. They paused occasionally and engaged in spontaneous expressive movement before continuing the march until they reached a final destination.

Lake March attracted an interested audience of cyclists, kids on scooters, joggers and Canberrans enjoying the outdoors. A few performances in mid-August were postponed, however, when the weather was less than warm. It was snowing in some parts of Canberra!

Australian Dance Party in Lake March, Canberra 2020. Photo: © Lorna Sim.
  • Jacob’s Pillow: the name

Regular visitors to my website will know that I have a great fondness for Jacob’s Pillow, that amazing dance venue (and it’s more than a performance venue) in Massachusetts. I have just recently posted reviews of two of the Pillow’s 2020 digital offerings—a program from the Royal Danish Ballet, and Borrowed Light from Tero Saarinen Company and Boston Camerata. Both were terrific performances.

I have, however, occasionally wondered why the site was called Jacob’s Pillow and so I was interested to discover (somewhat belatedly given that I was at the Pillow in 2007!) the history behind the name.

The YouTube link above shows Norton Owen, Director of Preservation at the Pillow, explaining the origins of the name.

  • Freeman. A new documentary to watch

The ABC has produced a documentary to mark the 20th anniversary of Cathy Freeman’s historic win in the 400m sprint at the Sydney 2000 Olympics. The film is co-directed by Stephen Page and features Bangarra dancer Lillian Banks as a young Cathy Freeman. The documentary includes archival footage, interviews and dance sequences. It will be available on ABC iview from 13 September.

  • Kristian Fredrikson. Designer

In addition to the review of my recent publication, Kristian Fredrikson. Designer, written by Jennifer Shennan and posted on this site, here are some reviews and a comment made during August.

Australian Arts Review (this review also appeared in Canberra CityNews)

Sydney Arts Guide

And from Sir Jon Trimmer, esteemed former dancer with Royal New Zealand Ballet in a note to Unity Books in Wellington:

What a magnificent book this is. Michelle Potter has been able to bring Australia and New Zealand close together by including all of Kristian’s work in both countries. Our own ballet company’s history is brought to life in a very special way… and there’s even mention of the Chez Lily, that Dixon Street coffee bar where we spent so much time talking about our dreams and our work, back in the day. I thought I was the only person who remembered it. We are very lucky that Michelle has produced this special book. It is one to treasure.

Michelle Potter, 31 August 2020

Featured image: Australian Dance Party in Lake March, Canberra 2020. Photo: © Lorna Sim.

Australian Dance Party in 'Lake March', Canberra 2020.
Michelle Ryan in 'Rasa'. Photo: © Régis Lansac

Dance diary. March 2020

  • Award for Michelle Ryan

It was a thrill to hear that Michelle Ryan, currently director of Restless Dance Theatre in Adelaide, has received the Australia Council’s 2020 Award for Dance. The award, whose previous recipients have included Vicki van Hout, Phillip Adams, Stephen Page, Lucy Guerin and Garry Stewart, is to acknowledge an artist ‘who has made an outstanding and sustained contribution to Australian dance’.

Ryan will be especially well known to Canberra and Adelaide audiences for her performances with Meryl Tankard Company in Canberra and with Meryl Tankard Australian Dance Theatre in Adelaide.

I had the pleasure of interviewing Michelle Ryan for the National Library of Australia’s Oral History and Folklore Collection. That interview, recorded in Adelaide in 2014, is now available as an online audio file at this link. It also has a summary and a transcript (uncorrected).

  • Art, not Apart, 2020

One of the last public dance performances in Canberra before such things were no longer permitted (for the moment we hope) was a joint production between Australian Dance Party and QL2 Dance. It was an outdoor event held on the grassy slope in front of the National Film and Sound Archive.

QL2 Dance and Australian Dance Party in 'Art, not Apart', Canberra 2020. Photo: Neville Potter
Scenes from Art, not Apart. QL2 Dance and Australian Dance Party, Canberra 2020

Called YGen to IGen it explored through cross-generational performance ‘the fears, hopes and imaginings of possible futures’. It was a beautiful Canberra afternoon but in retrospect the topic was more apposite than anyone might have imagined.

  • National Photographic Prize

After a portrait of Elizabeth Dalman won the inaugural Darling Portrait Prize, another dancer featured in the 2020 National Photographic Portrait Prize announced shortly after the Darling award. The portrait of Eileen Kramer by Hugh Stewart was Highly Commended. Read more about Eileen Kramer at this link.

  • David Hallberg

One of the events I had booked to see in London in mid-March, which, like the Scarlett Swan Lake, I didn’t manage to get to (and it was cancelled anyway) was Insights: In Conversation with David Hallberg. But here is the image I was given to use in my discussion of the event.

I am curious about Hallberg’s forthcoming new role as artistic director of the Australian Ballet of course. Here is what he said in a recent article in Dance Magazine:

The dancing is already at a very high standard, the repertoire is solid and the audience base is dedicated. But I want to add certain things to the repertoire that haven’t yet been seen in Australia. I’ve seen such a variety of work in New York—and not just at Lincoln Center—and in Russia and Europe. I have a really broad palette. It’s just a matter of tailoring it to the interests of the dancers and the tastes of audiences in Australia.

I also want to bring the company around the world. I have these amazing contacts I’ve made throughout my career that I want The Australian Ballet to benefit from.

And I want to dive into the company’s responsibility to the greater Australian community. A lot of that has to do with education and really getting into isolated communities in Australia, communities that don’t necessarily make it to the Opera House in Sydney or the State Theatre in Melbourne. I think every cultural organization in this era needs to question what their responsibility is to the greater community, and not just put on a beautiful ballets in a beautiful opera house.

Of course, living in Canberra as I do and knowing the lack of interest the Australian Ballet has in visiting Canberra, I wonder whether the national capital is an ‘isolated community’. Fingers crossed! Here is a link to the Dance Magazine article and a link to writing about Hallberg on this site.

Michelle Potter, 31 March 2020

Featured image: Michelle Ryan in Rasa, Meryl Tankard Australian Dance Theatre, Adelaide 1996. Photo: © Régis Lansac

Michelle Ryan in 'Rasa'. Photo: © Régis Lansac
Dancers of Australian Dance Party in 'Mine!', Canberra 2020. Photo: © Lorna Sim

Dance diary. February 2020

  • Mine! Australian Dance Party

Canberra’s Australian Dance Party (ADP) has begun 2020 in style. They have received program funding for two years rather than having to work from project to project, which has been their means of operating until now. This gives them a chance to plan ahead a little. The company has also just finished its first interstate tour with three performances of Mine! in Brisbane at the Supercell Festival of Contemporary Dance. Just prior to heading to Brisbane, ADP performed Mine! at the Australian National University, where the images on this post were taken.

Olivia Fyfe in 'Mine!', Australian Dance Party, 2020. Photo: © Lorna Sim
Olivia Fyfe in Mine!, Australian Dance Party, 2020. Photo: © Lorna Sim

Mine! was triggered by a reaction to proposals for mega-mines in Queensland, and by a culture of self gratification that the Party believes characterises much of society today.

Ryan Stone in 'Mine!', Australian Dance Party, 2020 Photo: © Lorna Sim
Ryan Stone in Mine!, Australian Dance Party, 2020 Photo: © Lorna Sim
  • Australian Dance Awards

Ausdance National has announced that the Australian Dance Awards will resume operation after a hiatus during 2019. Ausdance is working towards a double awards night later in 2020. It will recognise outstanding dance across a variety of areas during 2018 and 2019. Further details as they come to hand.

  • News from Liz Lea

Liz Lea has recently been touring her one woman show RED in the United Kingdom. It is good news that this show, which premiered in Canberra in 2018, is receiving the exposure it deserves. Lea has also been appointed Movement Director for a show to take place in Kuwait in April. It is being directed by Talal Al-Muhanna, Kuwaiti director of the documentary On the trail of Ruth St Denis, in which Lea appeared and which she researched.

  • The Fredrikson book

Editing and design of Kristian Fredrikson. Designer is moving into final stages. Pre-order is now available at this link. The media release is also available at the same link by clicking on ‘More information’. (Believe me you will be able to read the title on the front cover once the book is published). And, thanks to those who kindly donated to my various crowd funding projects, the book will be a hardback with a jacket.

  • Other books

And while on the subject of dance-related books, my recent newsletter from Jacob’s Pillow contained a note about a new book (or new-ish, it was published in December 2019) on Ted Shawn. The image below shows on the right the author, Paul Scolieri, standing next to Norton Owen, Director of Preservation at the Pillow. I noticed that the book is available through Book Depository. I am curious to know if Scolieri refers at all to Shawn’s Australian visit and was reminded of the range of comments that came in for a post on Shawn on this site back in 2011.

  • Oral histories

Early in February I had the pleasure of interviewing Douglas Gautier, CEO and Artistic Director of the Adelaide Festival Centre. The interview was part of the Australia-China Council Project currently being conducted by the National Library of Australia. Douglas Gautier spent a considerable amount of time in Hong Kong and had many connections with arts organisation in the region. The interview is not yet available online.

My January interview with Chrissa Keramidas is now online, although it currently lacks a timed summary. Coming soon! As well, an interview with Lisa Pavane, recorded a few years ago, was recently made available online. It does already have its summary.

Michelle Potter, 29 February 2020

Featured image: Dancers of Australian Dance Party in Mine!, Canberra 2020. Photo: © Lorna Sim

Andrew Killian and Dimity Azoury in 'Aurum'. The Australian Ballet, 2019. Photo: © Daniel Boud

Dance diary. January 2020

Alice Topp’s Aurum

Aurum, choreographed by Alice Topp, a resident choreographer with the Australian Ballet, was first seen in Melbourne in 2018. It was followed by a 2019 season in Sydney, a scene from which is the featured image for this post. Also in 2019 it had a showing in New York at the Joyce Theater. In fact the Joyce was in part responsible for the creation of Aurum. Aurum was enabled with the support of a Rudolf Nureyev Prize for New Dance, awarded by the Joyce. Major funding came from the Rudolf Nureyev Dance Foundation. Aurum went on to win a Helpmann Award in 2019.

Now Topp will stage her work for Royal New Zealand Ballet as part of that company’s Venus Rising program opening in May 2020. She has recently been rehearsing the work in RNZB studios in Wellington.

Madeleine Graham and Allister Madin in rehearsal for Alice Topp's 'Aurum'. Royal New Zealand Ballet, 2020. Photo: © Jeremy Brick
Madeleine Graham and Allister Madin in rehearsal for Alice Topp’s Aurum. Royal New Zealand Ballet, 2020. Photo: © Jeremy Brick

I can still feel the excitement of seeing Aurum for the first time in 2018 when it was part of the Australian Ballet’s Verve program. My review from that season is at this link.

Dance Australia critics’ survey

Below are my choices in the annual Dance Australia critics’ survey. See the February/March 2020 issue of Dance Australia for the choices made by other critics across Australia. The survey is always interesting reading.

  • Highlight of the year
    West Side Story’s return to Australian stages looking as fabulous as it did back in the 1960s. A true dance musical in which choreographer Jerome Robbins tells the story brilliantly through dance and gesture.
  • Most significant dance event
    Sydney Dance Company’s 50th anniversary. Those who have led, and are leading the company—Suzanne Musitz, Jaap Flier, Graeme Murphy and Janet Vernon, and currently Rafael Bonachela—have given Australian audiences a varied contemporary repertoire with exposure to the work of some remarkable Australian choreographers and composers, as well as the work of some of the best contemporary artists from overseas.
  • Most interesting Australian independent group or artist
    Canberra’s Australian Dance Party, which has started to develop a strong presence and unique style and has given Canberra a much needed local, professional company. The 2019 production From the vault showed the company’s strong collaborative aesthetic with an exceptional live soundscape and lighting to add to the work’s appeal.
  • Most interesting Australian group or artist
    Bangarra Dance Theatre. Over thirty years the company has gone from strength to strength and can only be admired for the way in which Stephen Page and his associates tell Indigenous stories with such pride and passion.
Beau Dean Riley Smith (centre) as Bennelong, Bangarra Dance Theatre 2017. Photo: Vishal Pandey
Beau Dean Riley Smith (centre) as Bennelong in Bennelong, Bangarra Dance Theatre, 2017. Photo: © Vishal Pandey
  • Most outstanding choreography
    Melanie Lane’s thrilling but somewhat eccentric WOOF as restaged by Sydney Dance Company. It was relentless in its exploration of group behaviour and reminded me a little of a modern day Rite of Spring
Scene from Melanie Lane's 'WOOF'. Sydney Dance Company, 2019. Photo: © Pedro Greig
Scene from Melanie Lane’s WOOF. Sydney Dance Company, 2019. Photo: © Pedro Greig
  • Best new work
    Dangerous Liaisons by Liam Scarlett for Queensland Ballet. Scarlett has an innate ability to compress detail without losing the basic elements of the narrative and to capture mood and character through movement. It was beautifully performed by Queensland Ballet and demonstrated excellence in its collaborative elements.
  • Most outstanding dancer(s)
    Kohei Iwamato from Queensland Ballet especially for his dancing in Dangerous Liaisons as Azolan, valet to the Vicomte de Valmont. His dancing was light, fluid, and technically exact and he made every nuance of Scarlett’s choreography clearly visible

    Tyrel Dulvarie in Bangarra’s revival of Unaipon in which he danced the role of David Unaipon. His presence on stage was imposing throughout and his technical ability shone, especially in the section where he danced as Tolkami (the West Wind).
  • Dancer(s) to watch
    Ryan Stone, dancer with Alison Plevey’s Canberra-based Australian Dance Party (ADP). His performance in ADP’s From the vault was exceptional for its fluidity and use of space and gained him a Dance Award from the Canberra Critics’ Circle.

    Yuumi Yamada of the Australian Ballet whose dancing in Stephen Baynes Constant Variants and as the Daughter in Stanton Welch’s Sylvia showed her as an enticing dancer with much to offer as she develops further.
  • Boos!
    The Australian Government’s apparent disinterest in the arts and in the country’s collecting institutions. The removal of funding for Ausdance National, for example, resulted in the cancellation of the Australian Dance Awards, while the efficiency dividend placed on collecting institutions, which has been in place for years now, means that items that tell of our dance history lie unprocessed and uncatalogued, and hence are unusable by the public for years.
  • Standing ovation
    I’m standing up and cheering for the incredible variety of dance that goes on beyond our major ballet and contemporary companies. Youth dance, community dance, dance for well-being, dance for older people, and more. It is indicative of the power that dance has to develop creativity, health and welfare, and a whole range of social issues.
Scene from Eye to Eye in On course. QL2 Dance, 2019. Photo: © Andrew Sikorski/Art Atelier

New oral history recordings

In January I had the pleasure of recording two new oral history interviews for the National Library of Australia’s oral history program. The first was with Chrissa Keramidas, former dancer with the Australian Ballet, American Ballet Theatre and Sydney Dance Company. Keramidas recently returned as a guest artist in the Australian Ballet’s recent revival of Nutcracker. The story of Clara. The second was with Emeritus Professor Susan Street, AO, dance educator over many years including with Queensland University of Technology and the Hong Kong Academy of Performing Arts.

News from James Batchelor

James Batchelor’s Redshift, originally commissioned by Chunky Move in 2017, will have another showing in Paris in February as part of the Artdanthé Festival. Redshift is another work emerging from Batchelor’s research following his taking part in an expedition to Heard and McDonald Islands in the sub-Antarctic in 2016. Artdanthé takes place at the Théâtre de Vanves and Batchelor’s works have been shown there on previous occasions.

Study for Redshift. Photo: © Morgan Hickinbotham

Batchelor is also about to start work on a new piece, Cosmic Ballroom, which will premiere in December 2020 at another international festival, December Dance, in Bruges, Belgium. Below are some of Batchelor’s thoughts about this new work.

Set in a 19th Century Ballroom in Belgium, Cosmic Ballroom will playfully reimagine social dances and the aesthetic relationship they have to the space and time they exist within. We will work with movement as a plastic and expressive language that is formed through social encounters: the passing of thoughts, feelings and uncertainties from body to body. It will ponder the public and private and the personal and interpersonal as tonal zones that radiate and contaminate. How might movement be like a virus in this context? How might space-times be playfully spilling across and infecting one another from the baroque ballroom to the post-industrial club space?

Batchelor will collaborate with an team of Australian, Italian and UK artists on this work.

Liam Scarlett

Not such good news

Michelle Potter, 31 January 2020

Featured image: Andrew Killian and Dimity Azoury in Aurum. The Australian Ballet, 2019. Photo: © Daniel Boud

Andrew Killian and Dimity Azoury in 'Aurum'. The Australian Ballet, 2019. Photo: © Daniel Boud
Ryan Stone in Australia Dance Party's 'From the Vault', 2019. Photo: © Lorna Sim

Dance diary. November 2019

  • Canberra Critics’ Circle Awards (Dance)

The Canberra Critics’ Circle Awards for 2019 were announced on 19 November at the Canberra Museum and Gallery. Four dance awards were given, as follows:

Australian Dance Party for the company’s production of From the Vault, choreographed and directed by Alison Plevey in collaboration with dancers, Olivia Fyfe, Stephen Gow, Eliza Sanders, Alana Stenning, and Ryan Stone. With live music and sound by Alex Voorhoeve and Andy McMillan, along with evocative lighting by Mark Dyson, costumes designed by Imogen Keen, and dramaturgy by Karla Conway, From the Vault was an outstanding collaborative endeavour. Brilliantly conceived and executed, it was the [Canberra] dance highlight of the year.

Zara Bartley and Daniel Convery of Bravissimo Productions for their initiative in attracting outstanding national and international dancers to Canberra for a gala production, World Stars of Ballet. The enterprise demonstrated courage and resourcefulness, along with a determination to put Canberra forward as a venue for world-class ballet productions.

Ryan Stone for his committed performance in Australian Dance Party’s From the Vault. His outstanding dancing, with its freedom and fluidity within the set choreography, displayed a remarkable mastery of how the body moves through and in space, which is at the heart of all dancing.

Nathan Rutup for his high-energy choreography for the musical Heathers directed by Kelly Roberts and Grant Pegg for Dramatic Productions. Rutup’s dance numbers were so polished and in-tune with the material that it is difficult to imagine these songs done any other way.

  • Shaun Parker & Company

Shaun Parker & Company has recently announced its program for 2020, the company’s 10th anniversary year. Some of the works for the season focus on Parker’s interest in social issues affecting young people. They include The Yard with its anti-bullying message, which will be restaged and will tour areas across Sydney and regional New South Wales beginning on 9 March 2020.

Also during 2020 the company will present In the Zone, which had its premiere earlier this year, and which will be performed at the York Theatre, Seymour Centre, Sydney, from 16–19 September 2020. Developed in collaboration with musician Alon Ilsar, who co-designed the AirSticks that are pivotal to the work, In The Zone combines hip-hop dance with gaming technology to showcase the importance of stepping away from our screens and experiencing the real world. In The Zone will feature Western Sydney hip-hop dancer Libby Montilla.

Study for Bubble, Shaun Parker & Company, 2019.

The company will also develop three new works in 2020 including one with the working title of Bubble. It is a collaboration with Taiwanese bubble performance artist, Mr Su Chung Tai, and will explore such issues as global warming.

More about Shaun Parker & Company is on the company’s website at this link.

  • Site news

As the end of the year approaches I am always interested in which post has received the most views over the year. Although we are not quite at the end of the year yet, I checked the January–November stats to find that the review of Liam Scarlett’s Dangerous Liaisons, as danced by Queensland Ballet, topped the list by a very big margin. Deservedly so. It was a brilliant production and performance. It was so far ahead of everything else in terms of statistics that I can’t imagine it will be knocked out of first place once December stats are added. In case you missed the post here is the link.

Laura Hidalgo and Alexander Idaszak in Dangerous Liaisons. Queensland Ballet, 2019. Photo: © David Kelly
  • Press for November 2019

‘A pleasingly old-school Cinderella.’ Review of Queensland Ballet’s Cinderella on tour to Canberra. The Canberra Times, 7 November 2019, p. 16. My expanded review is at this link.

Michelle Potter, 30 November 2019

Please consider supporting my Australian Cultural Fund project to help Melbourne Books publish Kristian Fredrikson. Designer in a high quality format. Donations are tax deductible. See this link to the project, which closes on 31 December 2019.

Featured image: Ryan Stone in Australia Dance Party’s From the Vault, 2019. Photo: © Lorna Sim

Ryan Stone in Australia Dance Party's 'From the Vault', 2019. Photo: © Lorna Sim
Ryan Stone (centre) with Olivia Fyfe (left) and Alana Stenning in From the Vault, 2019. Photo: Lorna Sim

From the Vault. Australian Dance Party

20 September 2019. A ‘secret vault’, Dairy Road Precinct, Canberra

Dairy Road Precinct, on the edge of Canberra’s industrial suburb of Fyshwick, may be the least likely venue imaginable for a dance performance. A largely uninviting area, it is filled with buildings in hard-edged contemporary architectural style; there is little adequate signposting; and the precinct is difficult to navigate and to find the building one wants, even in daylight let alone at night. It is home to various organisations and start-up companies and seems to be filled with warehouses and vehicle yards. But a large warehouse, once used as a storage bunker by the Australian Mint, was the somewhat surprising venue for From the Vault, the latest production staged by Alison Plevey and her Australian Dance Party.

From the Vault looked at personal values that the Party thought were significant in our current society. The ideals that topped the list during research for the work were Safety, Freedom, Wealth, Individuality, Truth and Connection. Each of these ideas was examined in a distinct section with one particular dancer leading each part. While the values being put forward were not instantly recognisable (I later read the program notes), From the Vault was clearly about people’s emotions, thoughts and personal ideals. It was a work with which we, the audience, could immediately identify and it really didn’t matter if one’s thoughts strayed from what was written in the program (especially if it wasn’t read prior to the performance). I saw the Wealth section, for example, as being about greed and even gambling, and of course related it instantly to the original function of the performance space, especially when coins rained from above and were exchanged and tossed between the dancers. But, with its emphasis on people and their values, however one perceived what those values were, From the Vault was by far the best work I have seen from the Australian Dance Party.

Of course to be the best work I had seen from Plevey and her Party, From the Vault also needed to be expertly staged and well danced, costumed and lit. The five dancers, Stephen Gow, Olivia Fyfe, Eliza Sanders, Alana Stenning and Ryan Stone, all performed with the power and commitment we have come to expect of them.

Stephen Gow (centre) with dancers from the Australian Dance Party in From the Vault, 2019. Photo: © Lorna Sim

Stone was the standout performer. He led the section that represented Individuality (although to me it seemed more like gentle dominance). The section began with a kind of Mozartian flourish as dancers performed a dance built around a very eighteenth-century reverence. But then, accompanied by Alex Voorhoeve on his magical electric cello, and with a sound design from Andy McMillan, Stone began some of the most beautiful (and I should add individualistic) dancing I have seen for a long time. His limbs seemed to have no restrictions at all, such was the fluidity and freedom with which he moved. His speed and elevation were a joy to watch, and I loved the way he covered the space with his larger movements. I was also impressed with the way in which his body, and every part of his body, filled the immediate space around him. Nothing was a mindless gesture and he seemed totally absorbed in his execution of the choreography. He was a dancer possessed.

Mark Dyson’s lighting design added much to the atmosphere with a strong use of colour, down lighting and contrasts of light and darkness. There was mystery there, and the large space available in the ‘secret vault’ allowed dancers to appear and disappear throughout the performance. Costumes by Imogen Keen, with a mix of fabric from denim to patchwork splendour, were distinctive, attractive and quite chic.

Scene from From the Vault. Australian Dance Party, 2019. Photo: © Lorna Sim

Alison Plevey directed From the Vault and did not perform herself, as she usually does. With Karla Conway as dramaturg, focused direction from Plevey, and an exceptional creative input from the whole team, this work had power and coherence and was an immersive experience for the audience. Four and a half stars.

Michelle Potter, 22 September 2019

Featured image: Ryan Stone (centre) with Olivia Fyfe (left) and Alana Stenning in From the Vault. Australian Dance Party, 2019. Photo: © Lorna Sim

Ryan Stone (centre) with Olivia Fyfe (left) and Alana Stenning in From the Vault, 2019. Photo: Lorna Sim
Elma Kris and Daniel Riley in 'Spear'. Photo Tiffany Parker

Dance diary. November 2018

  • The changing face of Bangarra Dance Theatre

Bangarra Dance Theatre has just announced that the company is saying farewell at the end of the year to six of its dancers: Waangenga Blanco, Daniel Riley, Tara Robertson, Kaine Sultan-Babij, Luke Currie-Richardson and Yolanda Lowatta. Each has made an amazing contribution to Bangarra over recent years. Who can forget Daniel Riley’s remarkable performances in the film Spear, and his equally powerful dancing and acting as Governor Macquarie in Jasmine Sheppard’s Macq? Then it’s hard to forget, again in Spear, Kaine Sultan Babij as ‘Androgynous Man’ stalking through long grass and between trees? And there is a myriad of performances from Waangenga Blanco that stand out. As well as his role in Patyegarang, there is the ‘Angel’ duet, danced with Leonard Mickelo, in Riley, and his powerful performance in Frances Rings’ Terrain. So much more …

I wish them all well for wherever their dancing takes them and look forward to seeing them before they leave in Dubboo, opening shortly in Sydney. And of course there is the thrill of seeing new dancers in 2019.

Waangenga Blanco in 'Patyegarang', Bangarra Dance Theatre, 2014. Photo: Greg Barrett
Waangenga Blanco in Patyegarang, Bangarra Dance Theatre, 2014. Photo: © Greg Barrett
  • Robert Helpmann. The many faces of a theatrical dynamo

A new book of essays on Robert Helpmann has recently been published. It contains essays from a range of scholars and performers and is supplemented by a DVD of archival footage, including a documentary on the revival of Miracle in the Gorbals in 2014 by Birmingham Royal Ballet

My chapter, ‘Elektra. Helpmann uninhibited’ considers the origins of Helpmann’s ballet Elektra, Helpmann’s choreographic approach, and the differences, particularly in relation to Arthur Boyd’s designs, between the English production of Elektra in 1963 and that presented by the Australian Ballet at the Adelaide Festival in 1966.

Robert Helpmann book cover

Edited by Richard Cave and Anna Meadmore. Published in the United Kingdom by Dance Books in October 2018.
ISBN 9781852731793

Available from Dance Books Ltd and other retailers.

  • Canberra Critics’ Circle Awards, 2018 (Dance)

Canberra Critics’ Circle, now almost 30 years old, held its annual awards in November. This years dance awards went to:

Liz Lea: For the multi-media production RED, which drew together the work of four choreographers, including Lea, in a moving, courageous and dramatically coherent exploration of the medical condition of endometriosis.
My review of RED is at this link.

Alison Plevey and the Australian Dance Party: For Seamless, an innovative, well-considered and theatrically staged comment on the fashion industry, performed with wit and skill at the 2017 Floriade Fringe.
My review of Seamless is at this link.

Seamless, Floriade Fringe 2017. Australian Dance Party. Photo: Lorna Sim
Scene from Seamless, Floriade Fringe 2017. Australian Dance Party. Photo: © Lorna Sim

Emma Nikolic and Karen Brock: For their innovative choreography for the Canberra Philharmonic Society’s production of Strictly Ballroom. Their inventive interpretations of a number of traditional ballroom dance styles allowed the large ensemble of dancers to convince as champion ballroom dance contestants.

Michelle Heine: For her choreography for Free Rain Theatre Company’s production of 42nd Street. Her choreography for the spectacular production numbers successfully captured the authentic Broadway feel of the musical and was exceptionally well danced by the ensemble.

  • James Batchelor

Canberra dance goers will be interested to learn that James Batchelor will be back working in Canberra in 2019. He will be showing his latest work, Hyperspace, at a time and a Canberra venue to be announced. Hyperspace was made in 2018 during residencies in Nottingham, England, and Bassano del Grappa, Italy, and was recently performed in the B.motion festival in Bassano and at La Briqueterie Paris. It will also be part of the Dance Massive 2019 line up in Melbourne.

Batchelor is also looking forward to creating a new full-length work for Quantum Leap. It will premiere as QL2’s major work for the full ensemble at the Playhouse in August.

  • NGA Play. Sally Smart

The National Gallery of Australia has just installed a new children’s play area that highlights aspects of the Gallery’s extensive collection of costumes from the era of the Ballet Russes. It is designed by Melbourne-based artist Sally Smart, one of whose interests is in the juxtaposition of the art of the Ballets Russes with contemporary ideas of assemblage, cut-out items and patchwork-style lengths of fabric.

Dance features in a series of projections of dancer Brooke Stamp improvising in homage to and inspired by the dances of the Ballets Russes era (with a nod to Javanese dance). Stamp performed live (a one-off performance) at the opening of the play area early in November.

Brooke Stamp improvises for 'NGA Play. Sally Smart', 2018
Brooke Stamp improvising at the opening of the National Gallery of Australia’s children’s installation. Photo: Michelle Potter
  • Press for November 2018

’Rudolf Nureyev.’ Program article for La Scala Ballet’s Australian season, 2018. This article contains two very interesting, casual photos of Nureyev (one with Fonteyn), which I have not come across before.

‘Movement and message fail to link.’ Review of Australian Dance party’s Energeia. The Canberra Times, 22 November 2018, p. 20. Online version

Michelle Potter, 30 November 2018

Featured image: Elma Kris and Daniel Riley in Spear. Photo: © Tiffany Parker

Elma Kris and Daniel Riley in 'Spear'. Photo Tiffany Parker

In a flash. Australian Dance Party

18 February 2018. National Portrait Gallery, Canberra

Have you ever wondered what happens inside (and outside) a film studio? Well Australian Dance Party’s latest show, In a flash, gives a clue. Commissioned by the National Portrait Gallery, In a flash was made in response to Starstruck, a Gallery exhibition of portraits of Australian film personalities.

Party Leader Alison Plevey assembled four dancers—Adam Deusien, Gabriela Green, Leeke Griffin and Alanna Stenning—to join her for a 25 minute, fast-moving and cleverly thought through piece. The five dancers were joined by photographer Lorna Sim and graphic artist Anna Trundle who, between them, shot and edited live a series of photographs, which were displayed as they were edited on a screen in the performing space.

The piece began in glamorous style, more or less—thongs were the order of the day in the footwear area. The five dancers began outside Gordon Darling Hall and made their way, after peering through the glass panels, inside. Once inside, their dancing was slick and paid homage, music-wise at least, to Strictly Ballroom. Sometimes the early parts of the show had an air of being full-on, over the top Hollywood style. Lots of smiling, lots of make-up, lots of presenting oneself.

Opening number from In a flash. Australian Dance Party 2018. Photo: Lorna Sim edited by Anna Trundle

Early number from In a flash. Australian Dance Party, 2018. Photo: Lorna Sim, edited by Anna Trundle

But the glamour quickly gave way to more down to earth matters—behind the scene processes such as preparatory work, working up a curriculum vitae and the like. And costuming became more down to earth too when the glamorous outfits were discarded for rehearsal clothing or regular dance gear.

Adam Deusien, Gabriela Green, Lekke Griffin, Alison Plevey and Alanna Stenning in a scene from In a flash. Photo: Lorna Sim edited by Anna Trundle

(left to right) Adam Deusien, Gabriela Green, Leeke Griffin, Alison Plevey, and Alanna Stenning in a scene from In a flash. Photo: Lorna Sim, edited by Anna Trundle

There was some strong dancing too in the form of solos, duets and company pieces. I especially enjoyed a sequence featuring the tall and statuesque Griffin, who danced with a white sheet of fabric (representing a towel?), tossing it, wrapping it around herself, and using it various other ways. Sometimes when she posed, legs together, body lifted tall and slightly arched back, head held high, she reminded me of swimmer and film star Esther Williams or, more appropriately in the circumstances, the Australian swimmer and also a star performer, Annette Kellerman.

As these performances (perhaps they should be called ‘takes’) were proceeding, Lorna Sim was taking photos, with her apparatus linked to a computer. Occasionally the shots from performance were beautifully edited into portrait-style images. Very appropriate given that we were in the National Portrait Gallery.

Portrait of Leeke Griffin. Photo: Lorna Sim, edited by Anna Trundle

Portrait of Leeke Griffin. Photo: Lorna Sim, edited by Anna Trundle

It was only at the end, however, when Sim faced us and said ‘thank you’ that I realised how cleverly put together In a flash had been. Alison Plevey thinks outside the box. She puts together shows that attract attention instantly, but in the end they go beyond that instant gratification. Demanding they are, but that’s what the best dance is like. I came away pondering about whether I was meant to be sitting in the Portrait Gallery, or in a film/television studio with Lorna Sim as the link with the audience.

Michelle Potter, 20 February 2018

Featured image: Opening scene, In a flash, Australian Dance Party, 2018. Photo: Lorna Sim, edited by Anna Trundle

Note: For various reasons, this is the first National Portrait Gallery dance commission that I have attended without seeing first the exhibition that was the inspiration for the show. This of course has it drawbacks. But by the same token, it means I came to the show without prejudices. Take it as it is written.

Eliza Sanders, Alison Plevey and Jack Riley in 'Seamless'. Australian Dance Party, 2017. Photo © Lorna Sim

Seamless. Australian Dance Party

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 artist (or rather artists) in residence—Alison Plevey and her Australian Dance Party. Australian Dance Party at this stage in its development is still a pickup company with dancers changing from work to work. On this occasion, the company consisted of Plevey, Jack Riley and Eliza Sanders. The specially commissioned work was Seamless and it took a look at the fashion industry.

We have come to see Plevey’s work as an unapologetic comment on those aspects of society and politics that she feels strongly about. Seamless began by taking a look at models and their behaviour, and the stage that was set up in Haig Park was T-shaped in the manner of a catwalk. The dancers wore an amazing assortment of clothing, from grunge to glamour (not to mention underwear). Bouquets to Nina Gbor and Charne Esterhuizen for their contribution here. Plevey was a standout in this section as she strutted down the catwalk, mocking the distinctive walk models use.

Alison Plevey in 'Seamless'. Floriade Fringe, 2017. Photo: © Lorna Sim
Alison Plevey in Seamless. Australian Dance Party, Floriade Fringe, 2017. Photo: © Lorna Sim

But I also enjoyed the slightly supercilious attitude each of the dancers presented as they posed in various ways. Plevey also made a comment on the shape and size of models, and the attention their thinness has attracted recently. She pushed and poked her body and watched it in shadow-form on the back screen as she tried to make herself look as thin as possible.

But the work moved on to comment on other aspects of the fashion industry. Against the background of footage of sewing machines relentlessly and repetitively sewing seams, the three dancers, dressed in white, unadorned pants and tops, danced out a similarly repetitive and relentless series of moves. This section, which seemed overly long (although perhaps with the right intent), I assume was a comment on factories churning out fast fashion. There were other sections, however, that left me a little lost. I wasn’t really sure about the wrapping of Riley in a diaphanous purple cloth, although it was interesting to watch.

Jack Riley (centre) with Eliza Sanders and Alison Plevey in Seamless. Australian Dance Party, Floriade Fringe, 2017. Photo: © Lorna Sim

Towards the end the three dancers ‘engaged’ with an assortment of clothing, dressing themselves with as much as they could fit on and swapping items with each other. This was fun to watch too and I guess had to do with recycling clothing—an op shop experience gone wild.

While I felt not all the sections were clearly articulated, Seamless was an interesting, outdoor, evening event and was wonderfully danced by all three performers. I continue to be surprised at what Plevey and her dancers get up to, and think we in Canberra are lucky to have Australian Dance Party performing as much as they do with so little mainstream funding support. Plevey just picks up opportunities, wherever they may be, and runs with them

Michelle Potter, 23 October 2017

Featured image: (l–r) Eliza Sanders, Alison Plevey and Jack Riley in Seamless. Australian Dance Party, Floriade Fringe, 2017. Photo © Lorna Sim

Eliza Sanders, Alison Plevey and Jack Riley in 'Seamless'. Australian Dance Party, 2017. Photo © Lorna Sim

2017 weave hustle and halt. Australian Dance Party

weave, hustle and halt. Australian Dance Party

2 September 2017, National Portrait Gallery, Canberra

Canberra’s National Portrait Gallery has done it again—commissioned a short, totally captivating dance piece in conjunction with one of its current exhibitions. This time the company involved was the Australian Dance Party, led by Alison Plevey. She gathered together a great mix of young (and not so young) dancers to present an outdoor work on the gently sloping walkway leading to the gallery entrance. The dancers were accompanied by two musicians guesting from the Canberra Symphony Orchestra, Tim Wickham and Alex Voorhoeve, who at times sheltered in an alcove on the side of the building but who, at others, strolled around the dancers and were incorporated into the choreography.

The inspiration behind weave, hustle and halt was Dempsey’s People: A folio of British street portraits 1824–1844, a show of miniature portraits in watercolour by British artist John Dempsey of those who plied their wares, or who engaged in other activities, in the streets of London and elsewhere in Britain in the nineteenth century. Plevey has not tried to replicate the portraits in any way but has set out, successfully indeed, to give the audience a feel for the way people might interact with others on the streets today, or at any time really. Yes, there was weaving of bodies, a bit of hustling and some halting as people stopped to observe others.

2017 'weave, hustle and halt' Australian Dance Party

'weave, hustle and halt', 2017. Australian Dance Party

The sound score was an exciting accompaniment with the major part being played on an electric violin and an electric cello. But along with this part of the score there were various street sounds—including the sound of cars in the street and the noise of car horns. In addition the score began with the sound of Big Ben chiming, a beautifully evocative sound and a link back to the original portraits.

Alex Voohoeve, 'weave, hustle and halt'. Australian Dance Party. Photo: Michelle Potter
Tim Wickhmam, 'weave, hustle and halt'. Australian Dance Party. Photo: Michelle Potter

Plevey goes from strength to strength with her innovative ideas and her commitment to using Canberra as a backdrop for her work. Her performers did her proud and we can only continue to thank the National Portrait Gallery for coming to the party and bringing us such an enticing presentation.

Michelle Potter, 3 September 2017

Featured image: A moment from weave, hustle and halt, Australian Dance Party, 2017

2017 weave hustle and halt. Australian Dance Party

All photos: Michelle Potter