Dance diary. March 2018

  • La Scala Ballet

Queensland has scored another coup in its QPAC International Series with La Scala Ballet from Milan to perform in Brisbane in November 2018. The company will perform two works, Don Quixote (Nureyev production) and Giselle. Further details at this link.

  • In the footsteps of Ruth St Denis

Liz Lea’s film that follows the trail of Ruth St Denis and others in India in the early part of last century is due for its first screening later this year. Follow this link to my previous post about this venture and stay tuned for further news.

Liz Lea during filming in India

  • On view. Thinking bodies, dancing minds

An exhibition of Sue Healey’s dance films will be on show in Melbourne from 13–28 April at the Margaret Lawrence Gallery, Dodds Street, Melbourne (VCA). It is in celebration of the 40th anniversary of VCA Dance and will feature films relating to the careers of Lucette Aldous, Nanette Hassall and Shirley McKechnie, former teachers at the College, and recent graduates Shona Erskine, Benjamin Hancock and James Batchelor.

  • Press for March 2018

‘Emotional power charges an astonishing work.’ Review of RED by Liz Lea. The Canberra Times, 12 March 2018, p. 20. Online version.

Michelle Potter, 31 March 2018

Featured image: Don Quixote, La Scala Ballet. Photo: Marco Brescia and Rudy Amisano

Dance diary. Feburary 2018

  • Russell Kerr Lecture

In February I had the pleasure, and honour of presenting the inaugural Russell Kerr Lecture in Ballet and the Related Arts in Wellington, New Zealand. I spoke about the life and career of Wellington-born designer Kristian Fredrikson, of whom New Zealanders are rightly proud (as indeed are we Australians).

The lecture was made possible by a fund, recently established by a group of New Zealanders, to honour Russell Kerr, artistic director of the New Zealand Ballet (as it was initially called before receiving its Royal Charter) from 1962 to 1968. Kerr went on to hold many significant positions in the dance world and to choreograph many works for Royal New Zealand Ballet, including acclaimed productions with designs by Fredrikson of Swan Lake (1996), Peter Pan (1999) and A Christmas Carol (2001). The Russell Kerr Lecture will be offered annually for five years and plans are moving ahead for the 2019 lecture, which will be delivered by Dr Ian Lochhead.

The 2018 lecture was preceded by a performance (courtesy of Royal New Zealand Ballet) of Lark, a short but moving work by Loughlan Prior featuring Sir Jon Trimmer and William Fitzgerald. Both dancers gave an exceptional performance. Live music was provided by Hamish Robb and Beth Chen from the New Zealand School of Music. Here is what Jennifer Shennan wrote about Lark last year on this website:

Lark, choreographed by Loughlan Prior, of Royal New Zealand Ballet, performed by Jon Trimmer and William Fitzgerald, proved a masterwork. There’s little surprise in that since Prior has already earned considerable choreographic kudos. 78 year-old Trimmer’s presence on stage, before he even moves a muscles, reeks with the authenticity of a performer who deeply knows how dance works. Fitzgerald moves with a calm clarity that makes virtuosity seem effortless, and his elevation is something to savour. Suffice to say this piece portraying an older dancer as he sifts memories of dances past, alongside a younger dancer’s questing after the kinds of things that will bring meaning to his future performances, had a poignancy to treasure. (Jennifer Shennan)

See this link for a podcast from Radio New Zealand in which presenter Lynn Freeman and I talked about Fredrikson’s career. Unfortunately I have not yet been able to have the spelling of Fredrikson’s name corrected on the RNZ web page.

  • The Piano, Royal New Zealand Ballet

Royal New Zealand Ballet’s production of The Piano, with choreography by Jiri Bubenicek, opened late in February in Wellington. Stay tuned for Jennifer Shennan’s review.

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in 'The Piano', Royal New Zealand Ballet 2018. Photo: © Stephen A'Court

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in The Piano, Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court. Courtesy Royal New Zealand Ballet

  • Press for February 2018

Critics survey 2017. Dance Australia, February/March 2018, pp. 31–32. See this link for a PDF version of my selections.

Featured image: Follow this link for a PDF copy of the lecture handout.

Michelle Potter, 28 February 2018

Postcard showing Italian ballerina Carlotta Zambelli

Dance diary. January 2018

  • RAD Conference 2018, Brisbane

I was delighted to be asked to give the keynote address at the 2018 RAD Conference in Brisbane during January. I will not, for copyright reasons, be posting my paper and PowerPoint presentation for the moment. I would, however, like to mention the surprise discovery (a surprise to me anyway) I made while preparing the paper. While examining the development of the Romantic tutu, and its relationship to changes in ballet technique at the time, I came across some interesting information about the forward tilt of the body that we often associate with the Romantic period—think of the Act II pas de deux in Giselle when Albrecht holds Giselle in arabesque as she moves her upper body forward.

Despite advances in technique that were being made during the Romantic period, and the freedom that was gained from having costumes made with softer fabrics, such as the muslin from which the long Romantic tutus were made, there were nevertheless some obstacles to technical development. While the skirt of the Romantic tutu certainly gave the dancers more freedom, the bodice of the costume still had a stiff under-corset. Such a costume restricted the height at which the leg could be lifted. When the leg reached a certain height, say in arabesque, the hip hit the corset. This meant that lifting the leg any higher than 90 degrees became difficult and probably painful. I was fascinated to learn that this inability to lift the leg higher than 90 degrees without some kind of pain is most likely the origin of the forward tilt of the torso that we associate with the Romantic style. And with the image of Carlotta Zambelli I have used as the featured image for this post that tilt can be seen clearly, as can her tightly corsetted upper body.

Michelle Potter, 31 January 2018

Featured image: Postcard showing Italian ballerina Carlotta Zambelli

Postcard showing Italian ballerina Carlotta Zambelli

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Dance diary. December 2017

  • ‘The best of…’ for 2017

At this time of the year ‘the best of…’ fills our newspapers and magazines. My top picks for what dance audiences were able to see in the ACT over the year were published in The Canberra Times on 27 December. A link is below in ‘Press for December 2017.’ Dance Australia will publish its annual critics’ survey in the February issue. In that survey I was able to look more widely at dance I had seen across Australia.

In addition, I was lucky enough to see some dance in London and Paris. Having spent a large chunk of research time (some years ago now) examining the Merce Cunningham repertoire, especially from the time when Robert Rauschenberg and Jasper Johns were designing for the company, for me it was a highlight of 2017 to see Cunningham’s Walkaround Time performed by the Paris Opera Ballet. And in London I had my first view of Wayne McGregor’s remarkable Woolf Works.

Eric Underwood and Sarah :amb in 'woolf Works', Act II. The Royal Ballet, 2015. Photo: © ROH/Tristam Kenton

Eric Underwood and Sarah Lamb in Woolf Works, Act II. The Royal Ballet. Photo: © 2015 ROH/Tristam Kenton

In Australia in 2017 the absolute standout for me was Bangarra Dance Theatre’s Bennelong and that particular work features, in one way or another, in both my Canberra Times and Dance Australia selections. Of visitors to Australia, nothing could come near the Royal Ballet in McGregor’s Woolf Works during the Royal’s visit to Brisbane. At the time I wrote a follow-up review.

  • Some statistics from this website for 2017

Here are the most-viewed posts for 2017, with a couple of surprises perhaps?

1. Thoughts on Pina Bausch’s Rite of Spring. This was an early post dating back to 2009, the year I started this website. I can only imagine that Rite of Spring has been set as course work at an educational institution somewhere and this has resulted in such interest after close to 9 years?

2. Bryan Lawrence (1936–2017). Obituaries are always of interest to readers, but this one took off like wildfire.

Bryan Lawrence and Marilyn Jones in Giselle. Photo: Walter Stringer

Bryan Lawrence and Marilyn Jones in Giselle, Act I. The Australian Ballet, c. 1966. Photo: Walter Stringer. National Library of Australia

3. Ochres. Bangarra Dance Theatre. This review was posted in 2015 following the restaging of Stephen Page’s seminal work of 1994. It was powerful all those years ago and it is a thrill to see that audiences and readers still want to know about it.

4. New Zealand School of Dance 50th Anniversary Celebration—with Royal New Zealand Ballet. This is a relatively recent post so its position in the year’s top five indicates what a drama has been raging in New Zealand. Its comments are among the best I have had on this site.

5. RAW. A triple bill from Queensland Ballet. It is only recently that I have had many opportunities to see Queensland Ballet. The company goes from strength to strength and its repertoire is so refreshing. I’m happy to see the 2017 program RAW, which included Liam Scarlett’s moving No Man’s Land, on the top five list.

The top five countries, in order, whose inhabitants logged on during 2017 (with leading cities in those countries in brackets) were Australia (Sydney), the United States (Boston), the United Kingdom (London), New Zealand (Wellington), and France (Paris).

  • Some activities for early 2018

In January the Royal Academy of Dance is holding a major conference in Brisbane, Unravelling repertoire. Histories, pedagogies and practices. I will be giving the keynote address and there are many interesting papers being given over the three days of the event. Details at this link.

Then, in February I will be giving the inaugural Russell Kerr Foundation lecture in Wellington, New Zealand, and will speak about the career of New Zealand-born designer Kristian Fredrikson. The event will take place on 11 February at 3 pm in the Adam Concert Room at Victoria University of Wellington’s School of Music. The lecture will follow a performance (courtesy of Royal New Zealand Ballet) of Loughlan Prior’s LARK, created for Sir Jon Trimmer and William Fitzgerald in 2017.

Sir Jon Trimmer and William Fitzgerald in 'Lark' from 'whY Cromozone'. Tempo Dance Festival, 2017. Photo: © Amanda Billing

Sir Jon Trimmer and William Fitzgerald in LARK from whY Cromozone. Tempo Dance Festival, 2017. Photo: © Amanda Billing

  • Press for December 2017

‘History’s drama illuminated by dance.’ Review of dance in the ACT during 2017. The Canberra Times, 27 December 2017, p. 22. Online version

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And a very happy and successful 2018 to all. May it be filled with dancing.

2017 weave, hustle and halt

weave, hustle and halt, Australian Dance Party, 2017. Photo: Michelle Potter

Michelle Potter, 31 December 2017

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

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Eliza Sanders from the 'Enigma' series. Photo: © Lorna Sim

Dance diary. November 2017

  • ACT Arts Awards 2017

The ACT Arts Awards for 2017, an initiative of the Canberra Critics’ Circle, were announced in Canberra on 27 November. The major award, ACT Artist of the Year, sponsored by the weekly newspaper City News, went to dancer, choreographer and director, Liz Lea. This award is the subject of a separate post at this link.

In the wider category, where awards go to ACT-based artists across the various performing arts genres, the visual arts and literature, two dance awards were given.

  • Photographer Lorna Sim was awarded ‘For her outstanding contribution to dance in the ACT through her photography of dance, and her 2017 exhibition of dance photographs Enigma.’ One of her remarkable images from Enigma is the featured image on this post.
  • Katie Senior and Liz Lea shared an award ‘For their moving and elegiac dance work That extra ‘some created in celebration of a remarkable friendship.’ For a review of this work follow this link.

Katie Senior at the ACT Arts Awards 2017

Katie Senior (foreground) at the ACT Arts Awards, 2017

  • David Vaughan (1924–2017)

I was saddened to hear of the death in October in New York of British-born dance archivist, historian and critic David Vaughan. I first met Vaughan in  the early 1990s when I was doing research for my doctoral thesis, which concerned Robert Rauschenberg and Jasper Johns and their collaborations with Merce Cunningham and John Cage. Vaughan was the generous archivist of the Cunningham Foundation. I met up with him several times after that and was proud to be a co-curator with him and Barbara Cohen-Stratyner of the exhibition INVENTION. Merce Cunningham and Collaborators at the Library for the Performing Arts at Lincoln Center, New York, in 2007.

David Vaughan’s writing has been widely published in a variety of formats, but the two works that stand out in my mind are his spendid work on the ballets of Frederick Ashton, originally published in 1977 and revised in 1999— Frederick Ashton and his ballets. Revised edition (London: Dance Books, 1999)—and his equally impressive Merce Cunningham. Fifty years (New York: Aperture, 1997), and its accompanying app.

Press conference, Libary for the Performing Arts, New York, 2007. Foreground Merce Cunningham, background (l-r) curators Barbara Cohen-Stratyner, David Vaughan, Michelle Potter

Press conference, Library for the Performing Arts, New York, 2007. Foreground Merce Cunningham, background (l-r) curators Barbara Cohen-Stratyner, David Vaughan, Michelle Potter

  • Degas from Scotland in London

Just recently I saw a small, but quite beautiful show called Drawn in colour. Degas from the Burrell at the National Gallery in London. The works by Degas came mostly from the Burrell Collection, Glasgow, although some items, designed to expand the exhibition, came from elsewhere. The items from the Burrell Collection have rarely travelled before, and most were new to me. I especially liked the one I have chosen as illustration, The green ballet skirt, for the gorgeous way Degas has painted the skirt being so carefully treated by the dancer before (I am assuming) she goes on stage.

The Degas paintings, drawings and sculptures on display in this show are part of an extensive collection of art works given to the city of Glasgow by a wealthy Glaswegian shipping merchant, Sir William Burrell. The exhibition runs from 20 September 2017 to 7 May 2018. More at this link.

Edgar Hilaire Germain Degas, The Green Dress, about 1896-1901

Hilaire-Germain-Edgar Degas, The Green Ballet Skirt (ca. 1896). Pastel on tracing paper, 45 x 37 cm. The Burrell Collection, Glasgow (35.242) © CSG CIC Glasgow Museums Collection

  • Press for November 2017

‘Moving towards inclusion.’ Preview of the dance component of the Detonate program at Belconnen Arts Centre. Panorama (The Canberra Times), 25 November 2017, pp. 10–11. Online version

Michelle Potter, 30 November 2017

  • Late addition (2 December 2017)

I have just received a link to the latest edition of the remarkable Dance Books catalogue and, rather than wait until my January dance diary, I am including it here as a late addition—a source of Christmas gifts? Follow this link

Featured image: Eliza Sanders from the Enigma series. Photo: © Lorna Sim

Eliza Sanders from the 'Enigma' series. Photo: © Lorna Sim

'The Beginning Of Nature.' Australian Dance Theatre. Photo: Chris Herzfeld, Camlight Productions

Dance diary. October 2017

  • Coming to Canberra in 2018

In October the Canberra Theatre Centre released its ‘Collected Works 2018’. Canberra dance audiences will have the pleasure of seeing Australian Dance Theatre’s The Beginning of Nature, which will open its Australian mainstage season in Canberra on 14 June 2018.

Canberra Theatre Centre’s program also includes a season of AB [Intra] from Sydney Dance Company and Dark Emu from Bangarra Dance Theatre and, as part of the Canberra Theatre’s Indie program, Gavin Webber and Joshua Thomson will perform Cockfight. 

Bangarra Dance Theatre. Study for 'Dark Emu'. Photo: Daniel Boud

Bangarra Dance Theatre. Study for Dark Emu. Photo: © Daniel Boud

  • Eileen Kramer making a splash

The irrepressible Eileen Kramer was in Canberra recently. She made a fleeting visit to have a chat with Ken Wyatt, Minister for Aged Care, about funding for a project she is planning for her 103rd birthday in November. Kramer will perform A Buddha’s wife, a work inspired by her visit to India in the 1960s. It will be part of a project (The Now Project) featuring 10 dancers and co-produced by choreographer/film-maker Sue Healey. Read about the project and listen to Kramer and Healey speak briefly about it on the crowd funding page that has been set up to help realise the project.

  • Fellowships, funding news, and further accolades

It was a thrill to see that Australian Dance Theatre’s artistic director, Garry Stewart, is the recipient of a 2017 Churchill Fellowship. Stewart will investigate choreographic centres in various parts of the world including in India, France, the Netherlands, the United Kingdom, the United States and Canada.

Garry Stewart rehearsing 'Monument' 2013. Photo Lynette Wills

Garry Stewart in rehearsal. Photo: © Lynette Wills

Then, artsACT has announced its funding recipients for 2018 and, unlike last year’s very disappointing round, dance gets some strong recognition. Alison Plevey’s Australian Dance Party has been funded to produce a new work Energeia, Canberra Dance Theatre has received funding to create a new piece for its 40th anniversary, Liz Lea has funding also to create a new work, and Emma Strapps has been funded for creative development of a work called Flight/less.

Also in the ACT, Ruth Osborne has been short-listed as the potential ACT Australian of the Year for 2018. Osborne is artistic director of QL2 Dance and has made a major contribution to youth dance in the ACT. She was a 2016 recipient of a Churchill Fellowship and has recently returned from studying youth dance in various countries around the world.

Ruth Osborne, 2016. Photo: © Lorna Sim

Ruth Osborne prior to taking up her Churchill Fellowship. Photo: © 2017 Lorna Sim

Then, from Queensland Ballet comes news of some welcome promotions. Lucy Green and Camilo Ramos are now principal artists, and Mia Heathcote has been promoted to soloist.

  • Jean Stewart (1921–2017)

For a much fuller account of the life and work of Jean Stewart than I was able to give see Blazenka Brysha’s story at this link, as well as an interesting comment from her about one of Stewart’s photos of Martin Rubinstein.

Michelle Potter, 31 October 2017

Featured image: The Beginning Of Nature, Australian Dance Theatre. Photo: © Chris Herzfeld, Camlight Productions

'The Beginning Of Nature.' Australian Dance Theatre. Photo: Chris Herzfeld, Camlight Productions

Amy Harris and Adam Bull in 'The Merry Widow'. The Australian Ballet 2018 season. Photo: © Justin Ridle

Dance diary. September 2017

  • The Australian Ballet in 2018

Details of the Australian Ballet’s 2018 season were revealed in September and this year Canberra audiences can anticipate a program from the national company. The Merry Widow, which David McAllister has called ‘a fantastically well-constructed soufflé’, was created for the Australian Ballet in 1975 as the first full-length production commissioned by the company. It will open at the Canberra Theatre Centre on 25 May and run until 30 May. Based on the operetta of the same name, it has choreography by Ronald Hynd, a scenario by Robert Helpmann (in 1975 artistic director of the Australian Ballet), and music by Franz Lehar. It will also have seasons in Sydney and Melbourne.

But beyond soufflés, and for those who like their ballet to have more intellectual input, an interesting program is scheduled for Melbourne and Sydney. Called Murphy, it honours the contribution Graeme Murphy has made to the Australian Ballet, which he joined from the Australian Ballet School in 1968. Programming is not yet complete, apparently, but we know that the main item on the program will be the return of Murphy’s Firebird, which he created for the Australian Ballet in 2009.

Lana Jones in Graeme Murphy's 'Firebird'. The Australian Ballet, 2009. Photo: © Alex MakeyevLana Jones in Graeme Murphy’s Firebird. The Australian Ballet, 2009. Photo: © Alex Makeyev

Here is a quote from Murphy from a story I wrote for The Weekend Australian in February 2009:

I want to give the audience the magic that they believe Firebird is. It will be a rich and opulent experience for them. Besides, the score is completely dictative of the narrative, which makes it hard to stray from the story. Firebird is imbued with Diaghilev’s thumbprint.
I am keeping all the elements of the work, the symbols of good and evil for example, but I will be focusing in a slightly different way. It will be a little like the world of winter opening up to let in the spring.

As for the rest of the season: Maina Gielgud’s production of Giselle will return for a season in Melbourne, while Sydney will have a return season of Alexei Ratmansky’s wonderful Cinderella; there is a new production of Spartacus in the pipeline, which will be seen in Melbourne and Sydney; Melbourne will have an exclusive season of a triple bill called Verve with works by Stephen Baynes, Tim Harbour and Alice Topp; and Adelaide will see The Sleeping Beauty.

For dates and further information see the Australian Ballet’s website at this link.

  • Jennifer Irwin. Frocks, Tales and Tea

Jennifer Irwin, costume designer par excellence and recipient of the 2017 Australian Dance Award for Services to Dance, will be the special guest at an event hosted by ‘UsefulBox’ on 14 October at the Boronia tea rooms in the Sydney suburb of Mosman. Irwin will talk about her creative process and what inspired her as an artist. Further information at this link.

  • Andrée Grau (1954–2017)

The death has occurred, unexpectedly in France, of Andrée Grau, well-known dance anthropologist, and long-standing staff member of the University of Roehampton. Grau’s achievements, which include work in Australia, appear on the Roehampton website at this link.

  • Press for September 2017

‘Great flair shown in austere setting.’ Review of Circa’s Landscape with monsters. The Canberra Times, 8 September 2017, p. 31. Online version.

Seppe Van Looveren and Timothy Fyffe in 'Landscape With Monsters', 2017. Photo: © Vishal PandeySeppe Van Looveren and Timothy Fyffe in Landscape With Monsters, 2017. Photo: © Vishal Pandey

‘Untangling the truth.’ Preview of Gudirr, Gudirr, Dalisa Pigram and Marrugeku. The Canberra Times, 16 September 2017, Panorama p. 16. Online version.

Dalisa Pigram in 'Gudirr, Gudirr'. Photo Simon SchluterDalisa Pigram in Gudirr, Gudirr. Photo: © Simon Schluter

Michelle Potter, 30 September 2017

Featured image: Amy Harris and Adam Bull in The Merry Widow. The Australian Ballet 2018 season. Photo: © Justin Ridler.

Amy Harris and Adam Bull in 'The Merry Widow'. The Australian Ballet 2018 season. Photo: © Justin Ridle

Dancers of Australian Dance Party in. 'Weave hustle and halt', 2017. Photo: Lorna Sim

Dance diary. August 2017

  • Weave, hustle and halt

Alison Plevey’s Australian Dance Party has a commission from the National Portrait Gallery in Canberra to create a work in conjunction with the Portrait Gallery’s exhibition of British street portraits from the early 19th century, drawn by John Dempsey. The portraits are beautiful miniatures of working class people in a variety of situations. Plevey’s work, called weave, hustle and halt, is on show at the National Portrait Gallery on Saturdays 2 & 9 September at various times and will reflect the activity, characters and rhythms of the modern-day streetscape. The short work will have a sound score and ‘live busking’ by two musicians from the Canberra Symphony Orchestra, Tim Wickham and Alex Voorhoeve. I look forward to seeing how Plevey can capture the inherent, down-to-earth beauty of these portraits.

Bathing Lady by John Dempse

Bathing Lady by John Dempsey

  • Oral history updates

Most of the interviews I have conducted recently for the National Library of Australia’s oral history program have been with people working in various areas of the visual arts. This month, however, I had the pleasure of recording interviews with Mary Li from Queensland Ballet, and of course an outstanding dancer and coach in many situations prior to Queensland Ballet, and with Shaun Parker, director of Shaun Parker & Company. Records should appear shortly on the NLA catalogue.

  • Press for August

‘A leap of faith.’ Preview story for Blue Love, Shaun Parker & Company. The Canberra Times, 5 August 2017, p. 11. Online version. See also this link.

‘Torment laid bare in gripping work.’ Review of Bennelong, Bangarra Dance Theatre. The Canberra Times, 7 August 2017, p. 18. Online version.

Michelle Potter, 31 August 2017

Featured image: Dancers of Australian Dance Party in weave, hustle and halt, 2017. Photo: Lorna Sim

Dancers of Australian Dance Party in. 'Weave hustle and halt', 2017. Photo: Lorna Sim

Scene from Jack Ziesing's work for 'This Poisoned Sea'. Photo: Maylei Hunt

Dance diary. June 2017

  • Jack Ziesing on This Poisoned Sea

I recently spoke to several people associated with This Poisoned Sea, a forthcoming production to be performed in late July by Quantum Leap, the senior performing group of Canberra’s youth dance organisation, QL2. The story I subsequently wrote for The Canberra Times has yet to be published and, as often happens in these situations, I was unable to use everything I gleaned from those who were kind enough to talk to me.

Independent dancer/choreographer, Jack Ziesing, is one of three choreographers engaged with this evening length work, which is inspired by Samuel Taylor Coleridge’s Rime of the Ancient Mariner. He spoke to me in some detail about the thoughts behind his section, which was made during a residency early in 2017. It has already been performed in Melbourne and Canberra as a stand alone piece. Looking at some of the production images from those performances I was struck by the the black cloth that seemed to be used throughout his work, and the images of black figures that were posted on the walls of the QL2 studio and that had been used as inspiration.

‘I responded to the figures in black,’ Ziesing remarked, ‘because the black looks like clothing but draped in the right way it could also look like a flag, a weapon, or oil. I liked the idea of a transformable substance that the dancers could use to clothe themselves, protect themselves, and build with. But all the while it’s the very substance that contributes to the degradation of their environment. They are trying to shelter themselves with the very material that hurts them.

‘The tone of this work is definitely very dark. I am concerned for what the future holds and at times it can seem overwhelming and very hopeless. I wanted to convey this same sense of bleakness. Samuel Taylor Coleridge’s poem gave such a strong example of the consequences of thoughtless action. I can’t help but want to do the same in my own medium.’

This Poisoned Sea, section by Jack Ziesing. Photo: © Maylei Hunt, from the Melbourne production, 2017

The other choreographers contributing to This Poisoned Sea are Caudia Alessi and Eliza Sanders. The full, three-section work will be performed at the Playhouse, Canberra Theatre Centre, 27–29 July 2017.

  • News from New Zealand

Early in June, Royal New Zealand Ballet announced the appointment of Patricia Barker as its incoming artistic director. She replaces Francesco Ventriglia, who ended his contract with the company in mid-June. Barker was a principal dancer with Pacific Northwest Ballet during the directorship of Kent Stowell and Francia Russell and, most recently, has been artistic director of Grand Rapids Ballet in Michigan.

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A review by Jennifer Shennan of Neil Ieremia’s As night falls for Black Grace makes interesting listening at this link. ‘A poetic ode to our troubled world’ is how Ieremia describes it, but listen to what Shennan has to say.

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A comment from a New Zealand reader on my recent post about the Royal Ballet’s tour to Australia and New Zealand in 1958 sent me hunting for a photo of Anna Pavlova photographed in Wellington in 1926 by S. P. Andrew. The story goes, according to my correspondent, that Pavlova liked the photograph so much that she ordered 800 copies of it and paid in cash from a large black handbag! It is likely that the photograph below on the left is the one in question, although I rather like the one on the right as well, also taken in 1926 by S. P Andrew.

Anna Pavlova in Wellington, New Zealand, 1926 (1). Photo: S. P. Andrew, Alexander Turnbull Library
Anna Pavlova in Wellington, New Zealand, 1926 (1). Photo: S. P. Andrew, Alexander Turnbull Library

Two portraits of Anna Pavlova in Wellington, New Zealand, 1926. Photo: S. P. Andrew, Alexander Turnbull Library (left image, right image)

  • Rohalla

I was interested to hear that, as part of Refugee Week in the ACT, a dance-theatre work, based on the true story of a refugee from Afghanistan, whose name is Rohallah, was being produced for showing at the Courtyard Studio, Canberra Theatre Centre. I went along to see it.

In my opinion, the work didn’t live up to expectations as a piece of professional dance and, given that Canberra’s several professional dance artists struggle hard to find sources of funding, I was taken aback to find that Rohallah had received support from the ACT government. It is not clear whether that support was financial or not, but apparently the ACT arts minister, Gordon Ramsay, was a first nighter. And indeed the ACT government logo appeared on the handout.

I plead with the ACT arts minister to consider in greater depth what his department is supporting. We are grown-up, seasoned dance-watchers in Canberra. Please support work that treats audiences as such.

  • Press for June 2017

‘Pushing the boundaries of contemporary dance.’ Review of Sydney Dance Company’s Orb. The Canberra Times, 2 June 2017, p. 20. Online version

Michelle Potter, 30 June 2017

Featured image: Scene from Jack Ziesing’s work for This Poisoned Sea. Photo: © Maylei Hunt from the Melbourne production, 2017

Scene from Jack Ziesing's work for 'This Poisoned Sea'. Photo: Bec Thompson

Dance diary. May 2017

  • Canberra dance: funding news

In the dire funding situation affecting dance artists across the country, it was a thrill to hear from Liz Lea that her third science show for schools, Reef UP!, has been funded by the Queensland Government under their Engaging Science Grant Program. Read more at this link.

Lea, ever resourceful when it comes to collaborating and seeking funding, has previously presented science-oriented shows called Flying Facts and Star Struck in collaboration with the Queensland Music Festival. She received an ACT seed grant last year to begin research on Reef UP! Discussing Lea’s plans for her children’s shows I wrote last year:

Flying Facts began from a seeding grant Lea received to develop a show, eventually named InFlight, which examined Australian aviation history using materials in the National Library and the National Film and Sound Archive. During the research period, Questacon [the National Science and Technology Centre] asked Lea if a science component could be incorporated. InFlight went ahead as planned but a children’s show looking at how planes and birds fly, Flying Facts, also emerged and scored considerable success. The other children’s show, Star Struck, grew from work Lea did with astronomers and scientists from Mount Stromlo Observatory. It explores the astronomy of the northern and southern constellations and now Lea is exploring the possibility of a new collaboration with Mount Stromlo incorporating dancers from Australia and Singapore. And, fascinated by David Attenborough’s work on the fate of the Great Barrier Reef, Lea is working on a new educational show with characters called Manta, Ray, Slinky the Shark and the like. She has a small grant to undertake further research for this show in Queensland.*

Reef UP! will have an opening season in October in Canberra before touring into regional schools across Queensland and will feature, in addition to Lea, Liesl Zink and Michael Smith.

Liz Lea in a moment from 'Star Struck'. Photo © Sam Rutledge

Liz Lea in a moment from Star Struck. Photo: © Sam Rutledge

In addition to Lea’s funding success, Alison Plevey and Australian Dance Party have received an ACT seed grant to work on a proposed show, Mine!, to premiere (further funding permitting) in August.

  • Zahira Madeleine Bullock (1927–2017)

I was saddened to hear of the death at the age of 90 of Zahira Madeleine Bullock, one of the standout figures in Canberra’s GOLD group. Her appearance in shows by the GOLDs will certainly be missed. I always enjoyed the way her dancing was incorporated into GOLD productions, and how she was assisted along the way by others in the group. She was also founder of Dances of Universal Peace in Australia.

The video clip at this link shows some moments from her dancing career with the GOLDs. Her opening remark on the clip— ‘I think it’s rubbish that dance is only for the young’—will live on forever.

Portrait of Zahira Madeleine Bullock. Photo © Lorna Sim

Portrait of Zahira Madeleine Bullock. Photo © Lorna Sim

  • Hannah O’Neill

Fans of Hannah O’Neill may be interested in watching the following short film, Ascension made by by Jacob Sutton in 2015, showing O’Neill and Germain Louvet dancing inside and outside the Palais Garnier. Follow this link.

The venues used by Sutton in his film can be seen as well in the film Relève (Reset), which documents the first months of Benjamin Millepied’s directorship of Paris Opera Ballet. In particular, there are scenes in Relève that have been shot on the roof of the Palais Garnier, where O’Neill and Louvet execute that very beautiful (but somewhat terrifying) lift with O’Neill being carried along the edge of the roof in a grand jeté pose.

Michelle Potter, 31 May 2017

Featured image: Liz Lea in a moment from Star Struck. Photo: © Sam Rutledge

* Read the full article at this link.