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

Artists of the Australian Ballet in 'Nutcracker', 2017. Photo Jeff Busby

Nutcracker. The Story of Clara. The Australian Ballet (2017)

10 June 2017 (matinee), State Theatre, Victorian Arts Centre, Melbourne

A lot has been written over the years about Graeme Murphy’s Nutcracker—how it is an Australianised version of a well-loved classic, how it looks back to momentous events in Australian dance history, and so on. I am one of those lucky people who has seen every one of the seasons of Murphy’s Nutcracker since its premiere in 1992 and now I prefer to write personal thoughts rather than explanatory notes.

Murphy’s Nutcracker never loses its magic, its beauty, its theatricality, and in fact each season shows something more, something I haven’t noticed before, something surprising and unexpected. But most of all, it continues to tell me that this is a triumph for Murphy and his collaborators.

What came across really strongly for me this time was the theatricality with which the links across generations were made. I have always loved that moment, very close to the beginning, when Clara the Child picks up the package Clara the Elder has dropped as she makes her way to her home. They look at each other intently and in a brief instant we realise that they have recognised each other in some way. The child is looking at herself as an older woman, the older woman sees herself as a child. The moment was beautifully handled by Chrissa Keramidas as Clara the Elder and Hannah Sergi as Clara the Child.

Keramidas was, in fact, a surprise as Clara the Elder. She is still very much the dancer, with her long, slim limbs, beautifully poised head, and pure line through her whole body. She danced with scarcely a hint, in a movement sense that is, that her character was that of an ageing former ballerina. What was surprising was that her exceptional grace of movement distinguished her from her elderly friends in a way that I haven’t seen before. She was truly the ballerina rather than the soloist or corps de ballet dancer, and her collapse as she watched and remembered her career with her friends was all the more poignant.

Chrissa Keramidas as Clara the Elder in Graeme Murphy's 'Nutcracker'. The Australian Ballet 2017. Photo: ©Jeff Busby
Chrissa Keramidas as Clara the Elder in Graeme Murphy’s Nutcracker. The story of Clara. The Australian Ballet, 2017. Photo: © Jeff Busby

I have always been fascinated, too, by the very moving moment in Act II when Clara the Ballerina (danced on this occasion by Dimity Azoury) watches as her lover is killed during a revolutionary battle in Russia. As she takes in the enormity of the situation, a series of scrims lift and we see Clara the Elder in her white nightgown clutching a photograph of her lover, the lover we have just seen shot. The two Claras are one and dance together sharing their pain and loss. With Keramidas and Sergi having established such a strong bond in that fleeting early moment, the emotive power of the cross generational links, which are at the heart of this ballet, came once more to the fore (this time between Keramidas and Azoury). The impact of this scene was heightened, too, by John Drummond Montgomery’s lighting for this moment—hazy down lights against a dark background of emptiness—and perhaps also because I was sitting further back than usual and could focus on an overall picture.

This time I also noticed more clearly the choreographic beauty of the snowflake scene. As snowflakes fall gently to the ground, disintegrating on the way down, so too did Murphy have his snowflakes drop to the floor moving first through a clearly articulated bend to the supporting leg so the landing from there was like a crumbling of the movement rather than a deliberate fall. Against this were sharp, icy stabs of movement as the dancers lifted a leg into the air and, at one point, a myriad of hands and arms moving up and down recalling a flurry of snow. At least that’s how I saw it: an enchanting display of snowy qualities!

Artists of the Australian Ballet in Graeme Murphy's 'Nutcracker', 2017. Photo: © Jeff Busby
Artists of the Australian Ballet in Graeme Murphy’s Nutcracker. The story of Clara, 2017. Photo: © Jeff Busby

I also admired (more so than usual) Philippe Charluet’s film collage, especially those sections relating to the Russian Revolution. It has always been a treat to see how the film collage plays across the stage to add such a masterful context to this ballet, but this time the collage seemed even more pertinent to me, reading as I am at the moment a book that delves into the early life in Russia of George Balanchine.* And indeed Murphy’s inclusion of the two peasants in the picnic excursion that Clara and her friends enjoy before the Revolution begins in earnest had the same effect. The juxtaposition of wealth and privilege and lack of means to live comfortably was made clear with this small touch.

Azoury and Jarryd Madden danced strongly in the leading roles of Clara the Ballerina and the Beloved Officer, as did Andrew Wright as the Nutcracker Prince. Azoury has all the technique ready and waiting but just needs a little more feeling of freedom to make those curving, swirling lifts of the various pas de deux look as spectacular as they are. A little more time? Oh, and thank you to the new (to me) ‘older dancers’, friends of Clara the Elder. Graeme Hudson brought a certain gravitas and was it Terese Power who kept eating those chocolates and creating such a distinctive character?

Michelle Potter, 11 June 2017

Featured image: Artists of the Australian Ballet in the Imperial Ball scene from Graeme Murphy’s Nutcracker. The story of Clara, 2017. Photo: © Jeff Busby

Artists of the Australian Ballet in 'Nutcracker', 2017. Photo Jeff Busby

* Elizabeth Kendall, Balanchine and the lost Muse. Revolution and the making of a choreographer (New York: Oxford University Press, 2013)