Dancers of the Ballet du grand Théâtre de Genève in Francesco Ventriglia's Transit Umbra, 2010. Photo: © Vincent Lepresle

Dance diary. February 2021

  • Sydney Choreographic Centre

To establish a new choreographic venture, the Sydney Choreographic Centre, Francesco Ventriglia, formerly artistic director of Royal New Zealand Ballet, has returned to the southern hemisphere after leaving New Zealand ‘to pursue opportunities overseas’. The Centre, co-founded by Neil Christopher as its general manager, is located in the Sydney suburb of Alexandria and will open in March with an intensive program for emerging choreographers and the opportunity to take class with the resident dancers of the Centre: Ariella Casu, Victor Zarallo, Holly Doyle, Brittany-jayde Duwner and Alex Borg.

The Centre’s first production, Grimm, with choreography by Ventriglia, will open in April at the Lennox Theatre, Riverside Theatres Parramatta. ‘Expect the unexpected in this very modern version of old stories,’ we are told.

For more on the Centre and its programs, and on the new ballet Grimm, visit the Centre’s website.

In 2014 I had the pleasure of interviewing Ventriglia in Wellington for Dance Tabs. Follow this link to retrieve the DanceTabs article.

  • Oral history news

After an hiatus of very close to 12 months, I was finally able to get back to recording oral history interviews. Given the problems associated with dance in the media, oral history is one very significant way in which careers of those in the dance world can be documented for posterity. Early in February I interviewed Ruth Osborne, artistic director of Canberra’s youth dance organisation, QL2. The interview focused largely on Ruth’s connections with the choreography of Gertrud Bodenwieser and those who carried on her legacy in Australia, in particular Margaret Chapple and Keith Bain. The interview is yet to be fully processed but when that process is completed it will be available online through the National Library’s catalogue.

Ruth Osborne, 2016. Photo: © Lorna Sim
Ruth Osborne, 2018. Photo: © Lorna Sim

A little later in the month I recorded Part 1 of what is potentially a two part interview with fashion designer Linda Jackson. Her colleague, the remarkable Jenny Kee, is lined up for April.

  • Tanya Pearson, OAM (1937-2021)

The much admired Sydney-based teacher Tanya Pearson died in February. See an obituary for her in Dance Australia at this link, and watch a lovely 30 minute tribute, filmed in 2012.

  • Kristian Fredrikson. Designer. More reviews and comments

Another review, this time from Lee Christofis, appeared in the March issue of Limelight Magazine. It is a rather special review as Christofis knows something of the backstory behind the National Library’s Papers of Kristian Fredrikson, as his opening paragraph reveals. The online version is locked to non-subscribers but see this link for a taster. The full review is also available in the print edition for March.

Michelle Potter, 28 February 2021

Featured image: Dancers of the Ballet du grand Théâtre de Genève in Francesco Ventriglia’s Transit Umbra, 2010. Photo: © Vincent Lepresle

My place. QL2 Dance

QL2 Dance has, over the years, produced a number of memorable productions associated with exhibitions at the National Portrait Gallery. Most recently Ruth Osborne, in association with Olivia Fyfe, presented My place inspired by the exhibition, This is my place. This particular exhibition sets out to present what the NPG calls an ‘intimate focus to the places that define who we are—our spiritual homes, habitats and workspaces.’ The exhibition contains a varied collection of art works across a number of formats. It shows, within those formats, visual artists, sports people, writers, politicians, Indigenous leaders, even a phrenologist and mesmerist from 1870. No dancers though!

Osborne and Fyfe worked with seven recent tertiary dance graduates to develop this work, which was in four parts. The first took place in the space outside the entrance to the NPG. It was, I think, an improvised part of the whole, although this was not clearly explained. Then followed three separate sections performed in Gordon Darling Hall, the grand entrance to the Gallery. I would have liked to have known how the work was divided between Osborne and Fyfe, but this aspect of the production was not clearly explained either.

All four sections of dance suggested various themes of the portrait exhibition. But basically the dance work juxtaposed, I think, the notion of public lives versus private spaces. The opening improvisation suggested creativity to me, and most of those represented in the portrait exhibition were engaged in some kind of creativity. The first indoor section focused in a choreographic sense on group structures—bodies building upon bodies. I thought of collaborative endeavours. Following on was a fast-paced section in which the seven dancers donned coats and caps and proceeded to dance across the performing space as if out in the world, walking the streets. The final section, which I enjoyed most of all, was filled with slow movements that unfolded lyrically on individual dancers. This was private, individual enterprise to me.

As is ever the case with QL2 Dance productions, the performance was strongly danced by all seven dancers. I enjoyed immensely, again as ever, the way the choreography filled the available space. But who did what choreographically? I really love making up my own narrative when I watch dance that is not telling us a given story, but I also like to know a little more than we were given on this occasion, including what was the music used, for example? A single sheet of paper with a bit of information please. Even something online?

Michelle Potter, 26 January 2021

Featured image: Scene from My place. QL2 Dance, 2021. Photo: © Lorna Sim

Dance diary. December 2020

The best of everything to those who have followed this website over the past year. Thank you for your loyalty. And here’s hoping that 2021 will be one that is filled with dance, even live dance perhaps? Stay safe and healthy.

  • Highlights of 2020 (on and off stage)

I was very fortunate to see the opening night performance of Graeme Murphy’s The Happy Prince. It had a short run in Brisbane in February but showings elsewhere were cancelled due to the pandemic. I really would like to see it again as there was a lot there that needed a second look. I hope we will see it again, given that the leadership of the Australian Ballet has changed.

Adam Bull as the Prince in The Happy Prince. The Australian Ballet, 2020. Photo: © Jeff Busby

By mid year we were still not back in the theatre but Alison Plevey and her Australian Dance Party created Lake March in which, over several weekends in August, eight dancers, accompanied by two musicians, made their way around Canberra’s three lakes. They paused briefly on occasions to engage with each other and with the rather surprised audience of joggers, bike riders and so on who were also using the lakeside for exercise. Lake March won Plevey a Canberra Critics’ Circle award in December. The citation read:

For courageously working within the restrictive conditions generated by COVID-19 to bring an innovative and entertaining production of dance and live music, presented in several outdoor venues, to an audience of dance goers and the wider Canberra community. Alison Plevey for Lake March.

Australian Dance Party in a moment from Lake March. Lake Burley Griffin, Canberra, 2020. Photo: © Lorna Sim

In October we were able to venture into the theatre for a QL2 Dance program featuring a work called Sympathetic Monsters by Jack Ziesing. It was an absorbing work in terms of its choreographic structure and in its thematic content.

Of course I watched many streamed performances over the course of 2020. It was more than interesting to see close-up images of faces and expressions and also details of costume. Nothing can replace a live performance but I derived much pleasure from streamed performances, especially from companies I wouldn’t normally see. Borrowed Light from Finland’s Tero Saarinen Company in collaboration with Boston Camerata was perhaps the most outstanding example. I was transfixed by this performance and have Jacob’s Pillow to thank for streaming it as part of the Pillow’s Virtual Festival 2020.

Dancers from the Tero Saarinen Company in Borrowed Light. Photo: © Christopher Duggan
  • Sunil Kothari (1933–2020). Indian dance critic

I was saddened to hear of the death of Indian dance writer Sunil Kothari from complications of COVID-19. He visited Australia on a number of occasions and I recall a talk he gave in Canberra for the Canberra Critics’ Circle, several years ago now. He was a passionate advocate for dance and was a mentor to Padma Menon, who performed extensively in Canberra during the 1990s.

  • Kristian Fredrikson. Designer. More reviews and comments

Kristian Fredrikson. Designer featured as the ‘Publishing Spotlight’ in the Summer 2020–2021 edition of the newsletter of the Friends of the National Library of Australia. The review was written by Friends Committee Member and well known Canberra-based arts and craft specialist, Meredith Hinchliffe. Follow this link to read the review.

  • Site news

At this time of year it is always interesting to look back at which posts were most popular over the course of the year. Leading post was the obituary for Athol Willoughy (and 2020 is not the first year that an obituary has taken first place). Following on were Thoughts on Pina Bausch’s Rite of Spring (still popular after all these years); Romeo and Juliet. The Australian Ballet; Terrain. Bangarra Dance Theatre; and Moon Water. Cloud Gate Dance Theatre of Taiwan.

Most visits came from Australia followed by the United States, the United Kingdom, New Zealand and France.

Michelle Potter, 31 December 2020

Featured image: Gum blossoms, Canberra, 2007 (detail). Photo: © Nick Potter

Danny Riley in Similar, Same but Different. Hot to Trot, 2020. Photo: © Lorna Sim

Hot to Trot (2020). QL2 Dance

Hot to Trot is an annual dance event in Canberra and is designed to give senior Quantum Leap dancers (who are mostly in their teens!) the opportunity to create their own choreography. Despite the issues that have plagued the arts community over the past several months, Hot to Trot 2020 went ahead in QL2’s black box space in Gorman Arts Centre, complete I should add with emphasis on the physical distancing of audience members. Two short films and eight live productions were presented.

What especially attracted me in this year’s program was the ability of the choreographers to use the performing space to advantage. They understood how to arrange their dancers, and any props they used, within the space, sometimes filling it, sometimes using corners, diagonals, upstage and downstage areas, and so forth. It reflects well on the QL2 Dance program where, from the beginning, young, prospective artists are taught stage techniques as well as dance technique.

But one work stood out for me—Danny Riley’s Similar, Same but Different. It was essentially a reflective work that examined the connections Riley sees as existing between him and his older brother, Jack, who is now a professional dancer and choreographer. In essence it was a replay of a work made by Jack Riley, which we saw on a film in the background. Danny Riley danced the same choreography for the most part and began by wearing a white jacket that his brother had worn—it was rather too long for him, which in itself spoke to us about those family connections. As the work progressed Danny Riley removed the white tuxedo and replaced it with a short, black jacket of his own—it fitted nicely! But, finally, that too was discarded and we understood that Danny Riley was his own man but with influences from family connections. It was a moving work that unfolded logically and clearly but that was complex in the ideas that it generated in our minds.

I loved that Riley didn’t see the need to use text as an essential addition to his work. Which brings me to the criticisms I have of this Hot to Trot program, and other such programs at QL2. I really wish that there could be a stronger realisation by these young choreographers that dance has the capacity to engage and comment within itself. It doesn’t need to have a text to which dancers react and which is meant (I think) to help the audience understand what is going on in the work. Speaking onstage during a performance is a particular skill and requires training. So often with QL2 productions, in which the spoken word is used, it is not easy to hear or understand what is being said. Not only does this reflect a lack of voice training, but also that the spoken text is often not well integrated with the score, which means that the words are drowned out by the score. And pretty much always, in my opinion, the spoken text seriously detracts from the dance aspects of the work.

The other issue that bothers me concerns the subjects young choreographers often choose as inspiration—subject matter that is quite abstract, or philosophical. Wayne McGregor or William Forsythe might be (and are) good at using conceptual issues as the basis for a dance work, and Tim Harbour at the Australian Ballet is also moving in this direction with particular skill, but they are experienced, professional artists who understand what dance can do best. It communicates through movement.

But to return to the Hot to Trot program itself, the other work I especially enjoyed was the short film by Natsuko Yonezawa, which opened the program. Called Flowering, it was filmed during rehearsals for the recent Leap into Chaos project by QL2 and focused on group movement. The raw footage was assembled and edited so we saw a kaleidoscope of images that recalled flowers growing in ever-changing, ever-expanding patterns. To me the film often looked like origami, being made or being made to move. It was quite beautiful and a great introduction to the program.

Screenshot from Natsuko Yonezawa’s Flowering. Hot to Trot, 2020

Other works on the program were created by Magnus Meagher, Alyse and Mia Canton, Courtney Tha, Lillian Cook, Pippi Keogh, Hollie Knowles, Rory Warne, and Sarah Long.

Michelle Potter, 25 November 2020

Featured image: Danny Riley in Similar, Same but Different. Hot to Trot, 2020. Photo: © Lorna Sim

Leap into Chaos. QL2 Dance

15 October 2020, Canberra College Theatre

As a result of the COVID 19 situation, two of the annual initiatives of Canberra’s youth dance organisation, QL2 Dance—the Quantum Leap program for senior performers and the Chaos Project for younger dancers— were combined this year, hence the over-arching name Leap into Chaos. The performance also took place in a different, but well resourced venue, and with a much smaller than usual number of people seated for each performance (with physical distancing in place).

The younger dancers gave us a multi-faceted work called Touch. In seven parts, with choreography by Ruth Osborne, Steve Gow, Alison Plevey, Olivia Fyfe and Ryan Stone, Touch showed a range of different reactions to the coronavirus pandemic. There were masks, worn and then taken off with a shout of pleasure; references to hand washing; social interaction; acts of kindness; finding one’s place in the world; and a closing section filled with the joy of being able to perform live again.

Scene from Touch, QL2 Dance, 2020. Photo: © Lorna Sim

While I wish one or two sections had been a little shorter, as ever I was impressed with the ability of the Chaos dancers to enter and exit the stage so smoothly and to use the space of the stage so effectively. Apart from the development of creativity during the choreographic phase when the dancers have the opportunity to contribute ideas, the value of the Chaos Project has always been the development of an understanding of stagecraft. The young dancers always do themselves proud in this respect.

********************************

The second half of the program was an outstanding work, Sympathetic Monsters, choreographed by QL2 alumnus Jack Ziesing to a soundscape by Adam Ventoura. Ziesing is currently working freelance as a dancer and choreographer and, in creating Sympathetic Monsters, was inspired by a book by Shaun Tan called The Arrival. The impact of Sympathetic Monsters sent me in search of some information about The Arrival, which it turns out is a wordless book, a migrant story told using a series of images only. Tan himself says it concerns in part ‘the “problem” of belonging’, which ‘especially rises to the surface when things go wrong with our usual lives.’

I loved looking at Ziesing’s work without knowing anything about Tan’s book. His choreography alternated between group movement, exceptionally well performed by the dancers, and solos in which dancers pushed their bodies into fantastically twisted shapes. In its structure the work was endlessly fascinating. The dancers mostly entered one by one to perform a solo. After finishing, they moved upstage and stood in a line across the back of the stage space until they engaged in a group section. At the very end, the group, acting as involved onlookers, encircled two performers who moved together in a kind of complex duet. The work was lit by Craig Dear of Sidestage and his pronounced use of shadowy effects added to the drama of the movement and the power and mystery of the work.

Scene from Jack Ziesing’s Sympathetic Monsters, QL2 Dance, 2020. Photo: © Lorna Sim

But reading about The Arrival further opened up the work, if in retrospect. There it all was in movement—the isolation; the belonging or not belonging; the group versus the individual; the sympathy juxtaposed with its opposite. Many thoughts came crowding in and even the title made some sense. I am looking forward to seeing the work again when QL2 Dance offers it as part of a streamed event later in October. Sympathetic Monsters was an exceptional work.

Michelle Potter, 17 October 2020

Featured image: Scene from Jack Ziesing’s Sympathetic Monsters, QL2 Dance, 2020. Photo: © Lorna Sim

Ausdance ACT’s new director. Dr Cathy Adamek

Dr Cathy Adamek thinks it is time for regional re-engagement in dance. Adamek, who has had an extraordinarily diverse career across art forms to date, has just been appointed Director, Ausdance ACT. Her long-term vision is for making connections, including eventually establishing touring initiatives, initially between independent artists working in South Australia and the ACT. This aspect of a much wider vision seems very much like a ‘seize the moment’ one. On the one hand there are Adamek’s strong connections with Adelaide and, on the other, in the current COVID 19 situation the Adelaide-Canberra ‘bubble’ already exists even as borders with some other states and territories remain closed. It is also just the kind of initiative Canberra artists need.

Adamek began her dance life learning ballet in Adelaide with Joanna Priest and Sheila Laing. She was accepted into WAAPA to continue dance studies at tertiary level but an injury forced her to move to acting. Adamek eventually continued her training at NIDA and the Webber Douglas Academy of Dramatic Art in London and, with the addition of a strong musical background since childhood, she has pursued a career across dance, physical theatre, choreography, film, and electronic music, and has acted as a voice-over in various situations. She completed her PhD in 2017 at the University of South Australia. Her thesis, entitled Adelaide Dance Music Culture: Late 1980s–Early 1990s, reflected her interest in connecting with new music as well as her experiences on the dance floor in ‘the second summer of love’. A recent residency at Dance Hub SA saw her working on a piece called Open Bliss, a development from her PhD research and one of several of her personal choreographies. She has tutored at various institutions and most recently has been President of Ausdance SA. With her diverse background she describes herself as a ‘creative producer’.

Portrait of Cathy Adamek. Photo: © Meaghan Coles

Along with her interest in establishing regional re-engagement, Adamek says that her aim in her new position in Canberra is basically to serve the needs of Ausdance. ‘I have had 25 years of working in the arts,’ she says ‘now I want to work to help others in the dance community. I also have a particular interest in turning dance works into film and to extending that interest out to schools where there is a need for different perspectives and training.’ She also has a particular passion for ensuring that dance is developed from a dramaturgical point of view. This interest, she says, grew from her background at NIDA in the 1990s. ‘It was a hybrid era,’ she says, ‘when art forms were brought together. I want to present dance in a theatrical way. It has to be a journey in movement and with logic and theatricality.’

Why Canberra I wonder? I suggest to her that it doesn’t always have a strong profile to many outside the city. ‘It’s a lot like “secret Adelaide”, she counters. ‘Besides, I love travelling, I love going to new places. Canberra sits between those beautiful mountains. It has the Gallery and other collecting institutions. I had no hesitation.’

Like many arts organisations, Ausdance ACT has struggled a little in recent times. Cathy Adamek could well be the one to deliver its rejuvenation.

Michelle Potter, 14 October 2020

Featured image: A moment from Open Bliss, 2019. Photo: © Alex Waite-Mitchell

Dance diary. September 2020

  • Gray Veredon on choreography

I am pleased to be able to post some interesting material sent to me by New Zealand-born choreographer, Gray Veredon. He has just loaded the first of a series of video clips in which he talks about his aims and ideas for his choreographic output. He uses examples from his latest work, A Midsummer Night’s Dream, which he mounted recently in Poland. See below.

  • Alan Brissenden (1932–2020)

The dance community is mourning the death of Dr Alan Brissenden, esteemed dance writer and outstanding academic from the University of Adelaide. Alan wrote about dance for a wide variety of magazines and newspapers from the 1950s onwards and was inducted into the Hall of Fame at the Australian Dance Awards in 2013.

As I looked back through my posts for the times I have mentioned Alan on this site, it was almost always for his and Keith Glennon’s book Australia Dances: Creating Australian Dance, 1945–1965. Since it was published in 2010, it has always been my go-to book about Australian dance for the period it covers. No gossip in it; just the story of what happened—honest, critical, carefully researched and authoritative information. Very refreshing. Find my review of the book, written in 2010 for The Canberra Times, at this link.

A moving obituary by Karen van Ulzen for Dance Australia, to which Alan was a long-term contributor, is at this link.

  • Jack Riley

It was interesting to see that Marcus Wills’ painting Requiem (JR) was selected as a finalist for the 2020 Archibald Prize. While Wills states that the painting is not meant to be ‘biographical’, the (JR) of the title stands for dancer Jack Riley. Riley began his performing career as a Quantum Leaper with Canberra’s youth group, QL2 Dance. After tertiary studies he has gone on to work with a range of companies including Chunky Move, Australian Dance Party, and Tasdance.

See the tag Jack Riley for more writing about him and his work on this site.

  • Jake Silvestro

The first live performance in a theatre I have been to since March took place in September at the newly constructed black box theatre space at Belconnen Arts Centre, Canberra. It was a circus-style production called L’entreprise du risque. It featured Frenchman Bernard Bru and Australian Circus Oz performer Jake Silvestro, along with two young performers who trained at Canberra’s Warehouse Circus, Imogen Drury and Clare Pengryffyn.

While the show was somewhat uneven in standard, the standout performer was Jake Silvestro, whose acts on the Cyr wheel showed incredible balance and skill in general.

But whatever the standard, it was a thrill to be back watching live theatre again.

  • Kristian Fredrikson. Designer. More reviews and comments

In Wellington, New Zealand, Kristian Fredrikson. Designer is being sold through Unity Books, which presented the publication as its spotlight feature for its September newsletter. Follow this link. It includes Sir Jon Trimmer’s heartfelt impressions of the book, which I included in the August dance diary.

An extensive review by Dr Ian Lochhead, Christchurch-based art and dance historian, appeared in September on New Zealand’s Theatreview. Apart from his comments on the book itself, Dr Lochhead took the opportunity to comment on the importance of archiving our dance history. Read the full review at this link.

Royal New Zealand Ballet also featured the book in its September e-newsletter. See this link and scroll down to READ.

Back in Australia, Judy Leech’s review appeared in the newsletter of Theatre Heritage Australia. Again this is an extensive review. Read it at this link.

  • Press for September

‘Capital company.’ A story on Canberra’s professional dance company, Australian Dance Party. Dance Australia, September-November 2020, pp. 31-32.

Michelle Potter, 30 September 2020

Featured image: Giovanni Rafael Chavez Madrid as Oberon and Mayu Takata as Titania in Gray Veredon’s A Midsummer Night’s Dream. Ballet of the Baltic Opera Danzig, 2020. Photo: © K. Mystkowski

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.
Elma Kris and Beau Dean Riley Smith in ‘Bennelong’. Bangarra Dance Theatre, 2017. Photo: © Vishal Pandey

Dance diary. April 2020

  • Digital streaming

There has been much to watch via digital streaming over the past few weeks. The Australian Ballet, Sadler’s Wells, New York City Ballet, Royal Ballet of New Zealand, and others have all provided some excellent footage of works from their repertoire. Some of the works I have seen via digital streaming I have already mentioned on this site, but there are two impressive productions I have just watched that I have not yet written about (except in relation to previous live productions).

Bangarra Dance Theatre’s filmed version of Bennelong is outstanding. I have been impressed with the work on the occasions when I have seen it live—my review is at this link. But it was exciting to see it on film as well. What I liked especially was being able to see Jennifer Irwin’s costumes close up. Her leafy outfits for the dancers in the opening movements were just beautiful, and it was fascinating to see close up the textures of the fabrics used for the women in Bennelong’s life, who appear towards the end of the work. I also loved being able to see Beau Dean Riley Smith’s facial expressions throughout. He was such an impressive performer in this role. The film was (and still is at the time of writing) available via the Sydney Opera House website.

The second film that I really enjoyed was New York City Ballet’s production of Balanchine’s Apollo. It has been a while since I have seen Apollo live and I was staggered by the performance and interpretation of the title role given by Taylor Stanley, NYCB principal. He danced with such athleticism and displayed precision and strength throughout. He saw himself as a god and was determined to act accordingly. It was an eye-opener. This film was available on nycballet.com but finishes on 1 May. But … next up from NYCB is Ballo della Regina. I’m sure it will be worth watching.

  • International Dance Day

Wednesday 29 April 2020 was International Dance Day. But much (if not all) that had been planned was not able to come to fruition. Some of the Canberra dance community did, however, put together a short video, Message in Motion. It centres on a speech by South African dancer and choreographer Gregory Vuyani Maqoma and is spoken by Liz Lea. The opening movement sequences are from James Batchelor, who is currently confined in Paris where he has a residency.

  • George Ogilvie ((1931-2020)

I was sorry to hear that George Ogilvie, theatre director, had died in Braidwood, New South Wales, on 5 April 2020. I especially regret that he did not live to see the Kristian Fredrikson book published, although he knew that it was on its way. Ogilvie was one of the executors of the Estate of Kristian Fredrikson, and so I had some dealings with him as a result of his holding that position. He and Fredrikson enjoyed a productive and close collaborative connection beginning in the 1960s when Ogilvie was working as artistic director of Melbourne Theatre Company. They then went on to work together in productions by various theatrical companies including the Australian Ballet and the Australian Opera (as it was then called).

Ogilvie also taught mime for the Australian Ballet School in its early years and in his autobiography, Simple Gifts, he recalls his time there, mentioning in particular his recollections of Graeme Murphy.

Vale George Ogilvie.

  • Chrissa Keramidas

In a previous post I mentioned an oral history I had recorded with Chrissa Keramidas for the National Library’s oral history program. That interview now has a timed summary, which is online together with the audio, at this link.

Michelle Potter, 30 April 2020

Featured image: Elma Kris and Beau Dean Riley Smith in Bennelong. Bangarra Dance Theatre, 2017. Photo: © Vishal Pandey

Elma Kris and Beau Dean Riley Smith in ‘Bennelong’. Bangarra Dance Theatre, 2017. Photo: © Vishal Pandey
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