News flash: The Sydney Choreographic Centre has just announced that Sylvie Guillem is to take on the role of international patron of the Sydney Choreographic Centre. Artistic director Francesco Ventriglia has said of the appointment:
I could not be more thrilled and honoured that Sylvie has agreed to become SCC’s International Patron. I want the Centre to be a place of inspiration and there is no one in the dance world more recognised or inspiring than Sylvie.
Well for those of us who have seen Guillem dance in various situations this appointment augurs well and I hope her input will be extensive, if from afar. I don’t think I have ever really recovered from Guillem’s production of Giselle for the Finnish National Ballet, which I had the good fortune to see twice way back in 2001. The intelligence behind what was a truly inspired production was remarkable. I hope that in some way Ventriglia and his team will be able to harness some of that passion and inspiration to add to what they already have.
16 April 2021. Lennox Theatre, Riverside Theatres, Parramatta
GRIMM is the first work from the newly established Sydney Choreographic Centre and a world premiere from its director, Francesco Ventriglia. It takes an unusual look at some of the characters from the fairy tales of the Brothers Grimm (Jacob and Wilhelm), examining the emotions of these fairytale characters and the passage they make from youth to maturity. We meet, for example, Snow White, the Frog Prince, Little Red Riding Hood and Hansel and Gretel. We watch as they are pressured by a black clad figure, an evil character encompassing stepmother, witch and any other malevolent figure from a Grimm story. By the end every one of them had been transformed. Even the black clad Evil One (my name for this character) took on a new guise and appeared finally as a figure enveloped by golden clothes and shining lights.
Ventriglia’s choreography was fast-paced and filled with astonishing lifts with arms and legs constantly being thrown in all directions. It was quite angular most of the time. I waited for some moments of stillness, and the occasional feeling of roundness and softening of the limbs, but the angularity continued throughout. The duet between Snow White and her partner came closest to having a sense of calm and smoothness, but only occasionally. All the performers were, however, outstanding dancers and I especially admired the strength and emotional power of Ariella Casu, both as the Evil One and in the final moments when her black costume was stripped away to reveal a different side (perhaps?) of her character.
Although I wished for more diversity in the choreography, at least in its immediate impact, I was stunned by the absolutely brilliant, very contemporary visual effects throughout. The lighting by Alex Berlage left a lot of the stage quite dark for much of the time but the strong side and down lights were exceptional in the way they highlighted the various characters. The projections by Marco Giani were quite minimal in most cases—just narrow rectangles of light filled with largely abstract designs, although they clearly represented forces of nature. But they too added to an understanding of who the characters were and never detracted from the movement. Costumes by James Acheson, especially for the main characters, were impressive and again a strong sense of the contemporary in design was clear.
On the night I attended the performance the audience reaction was astonishing—cheering, stamping on the floor and the like. It took me back to the days when audiences seemed to go wild with excitement at the ballet (as far back as Borovansky even). Let’s see what happens with the next show from this bold new venture.
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.
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.
Royal New Zealand Ballet is making available a range of videos of productions from the repertoire for free home viewing for a brief period during the covid-19 lockdown. The dress rehearsal of their 2015 production of A Midsummer Night’s Dream screened last week.
This ballet was originally commissioned by director Ethan Stiefel in a promising initiative for Royal New Zealand Ballet and Queensland Ballet to share resources, production and performance rights. The project could have grown to include other productions, teacher and dancer exchanges and residencies, and the concept of trans-Tasman co-productions was heartening. The premiere season of MND was staged here during the term of the next director Francesco Ventriglia.
The shimmering overture of Mendelssohn’s music for A Midsummer Night’s Dream evokes a humming faerie world. The dark blue-black midnight stage flickers alight with fireflies and glow worms. This is a visit to Waitomo Caves, after-dark Zealandia, Otari Bush or Botanical Gardens, the remembered hush of night in those places. You don’t need a grandchild holding your hand, though it helps, to know the feeling that magic could be out there, or look there, or quick another one over there. This entire production delivers on the promise caught in those quivering opening moments—with choreography, design and music inseparably part of what is arguably one of the best works in the company’s repertoire.
Liam Scarlett’s exquisite choreography drew galvanised performances from each of the dancers who were members of RNZB back in 2015. This viewing is a welcome reminder of their verve and style, the stage positively buzzing with the wit of a team of dancers who knew each other well and could together rise to a performance of such assured calibre. It is poignant in the extreme that we have loved and then lost so many of these artists in the swift turnover of dancers during the months that followed. There’s always a mobility of dancers amongst ballet companies but the scale and timing of that particular exodus wrought a major shift in the RNZB’s artistic identity.
Nigel Gaynor, music director back in the day, made an inspired full-length score by extending Mendelssohn’s original incidental music with seamlessly interpolated excerpts from others of his compositions. Gaynor conducted the NZ Symphony Orchestra and the result was a transport of delight.
Tracy Grant Lord produced fabulous designs for a number of major RNZB productions—for Christopher Hampsons’s Cinderella and Romeo & Juliet, as well as this Midsummer Night’s Dream. Lighting design by Kendall Smith positively sparkles with the wit of illuminating fairies and caverns themselves, rather than simply throwing light at them.
My review in 2015 was based on the performance by Lucy Green as Titania, Qi Huan as Oberon, both splendidly cast. This video has Tonia Looker and Maclean Hopper as leads and they do an equally fine job. Harry Skinner plays Bottom with a grounded quality that delights without overplaying the role, revealing an actor’s sensibility. Kohei Iwamoto is the quintessential Puck that Shakespeare must have had in mind when he wrote the character—daredevil, wicked, witty, mercurial rascal. Whatever the role, Kohei has always absorbed his virtuosic technique into characterisation and never used it for display. Even to watch him in a studio class was to see how his strength, precision and swiftness could grow into grace and the sprezzatura that Shakespeare knew all about ‘…that you would e’er do nothing but that.’
You could be moved by every moment of this ballet, beginning with a vulnerable young child caught in the crossfire of his quarrelling parents and their eventual hard-earned reconciliation, but one hilarious mid-moment breaks in to the action narrative as all of the cast dash en diagonale across the stage in pursuit of each other for the wrong and/or the right reasons—it’s a like a side-stage glimpse of the backstage life of all these characters—a cheeky wave and a wink to savour forever.
The fairies are a shimmering line-up—Lucy Green and Mayu Tanigaito among them—and Scarlett’s sense of comic timing draws a host of terrific performances—from Abigail Boyle, Paul Mathews, Laura Saxon Jones, Joseph Skelton, William Fitzgerald, Loughlan Prior, Jacob Chown. These assured performers really did work as a magic team, lucky we were. ‘Hence away. Now all is well. One alone stand sentinel …’
A recent saga has seen Liam Scarlett’s career with the Royal Ballet and elsewhere collapse into apparent ruin. The media fair bristled with leaked early reports (oh how salaciousness boosts ratings) but now the investigation seems to be over and the word is mum with the Royal Ballet declaring ‘There were no matters to pursue…’ So through that vagueness all we know is the heartbreak of Scarlett’s gifts destroyed, his career for now anyway at a standstill. Let’s meantime be grateful for the wondrous talents and team that made this ballet in the first place, and hope there can be some eventual resolution to the current impasse. Good on RNZB for screening his choreographic masterwork.
Ballet companies anticipate repertoire and book programs in long to mid-term time frames. Perhaps for that reason, the four works in Dancing with Mozart sit somewhat unevenly. The opening Balanchine Divertimento No. 15, and a newly commissioned work were the choices of the current artistic director, whereas the two Kylián works, Petite Mort and Sechs Tänze were chosen by the previous artistic director some time ago.
My guess is that Mozart would have found the Divertimento No. 15 somewhat laboured, with its numerous unmotivated entrances and exits, delivering the patterns that are its only content. I am not against patterns per se, in truth I love them if they are danced with élan and clarity, when they can represent all manner of things. In this work, however, there is little hint of meaningful rapport between dancers, and no development of a relationship to the audience, so zero effect of theatre from this extended piece.
The use of guest stars who are of varying aesthetic is hard to understand when the company has so many fine dancers, or until very recently did have, within its ranks. Mayu Tanigaito and Alexandre Ferreira save the day in their brief solos when with sparkling nonchalance they mask the effort involved in the demanding virtuosity.
This is the only work on the program played by Orchestra Wellington. Recorded music is used for the two Kylián works, evidently as required by the choreographic contract, but that is not made clear in the marketing of the season and has caused some upset reactions among those who booked to attend expecting live orchestra throughout.
The Corey Baker commission, The Last Dance, is a challenged work—no aspersion on the dancers who give it their best, but its ideas and images seem oddly static. All new choreographic challenge has to take risks and no one can guarantee the outcome, but whoever commissions and whoever choreographs needs to know a company’s strengths and production values as starting points. A pick-up group of dancers may have been a better choice for this project. It gives me no pleasure to report that it is the least appropriate use of Mozart’s Requiem that I could imagine.
How grateful we are then for some real choreography that claims space and gives dancers the moves they need to show the complexity and ambiguity, the serious, the strong and the playful options available to those of us who want to recognise life celebrated in dance. Both Kylián works, Petite Mort and Sechs Tänze, would have pleased Mozart no end, alive as they are with vitality and madcap, laced with wicked wit and the spin of genius. Every image and every move is deliciously carved and carried, suggestive and sensual, teeming with nuances from the choreographer’s rich train of thought.
Both these dances, performed by Nederlands Dans Theater, are on YouTube, with Stephan Zeromsky, who has so ably staged the works here, in that cast. The fact that you can watch on Youtube is no reason to stay away from a live performance. But it does give you and me the real and rare chance to study the works in all the depth and detail that repeat viewings allow. Kylián’s personal website also offers much insight into his remarkable career, prolific choreography, and his haunting muse.
I also welcomed several memories that this season triggered—for starters, during Ashley Killar’s term here, probably the definitive Balanchine work ever seen in this country, Agon, exquisitely performed by Ou Lu and Amy Hollingsworth. Pure Balanchine at his best.
Another treasured memory is Harry Haythorne’s beautiful staging of Balanchine’s Serenade on the New Zealand School of Dance in 1984. (It is a little known but fascinating fact that Haythorne was the first person to script Serenade into Laban Notation. The original score held in the Dance Notation Bureau in New York carries his signature, H.H., in the bottom corner. Dance history is a mercurial creature).
None of us is likely to forget Kylián’s masterwork Soldatenmis/Soldiers’ Mass, to Martinu’s Mass of the Unknown Soldier, which has been twice so brilliantly staged by RNZB, during Matz Skoog’s and again during Francesco Ventriglia’s directorates. The work throbs with the urgency and pain and horror and courage required in battle. It demands extraordinary stamina. Every male dancer in the company is cast. If one injures there is no recourse but to bring in the strongest female dancer in the company to replace him. In the first season that was Pieter Symonds. I wrote at the time this was the night Joan of Arc came to town—andPieter has used that epithet in her cv ever since. In the most recent season, another male dancer injured, and Laura Saxon-Jones was brought in to replace him. I wrote then that Joan of Arc had returned to town. Laura’s fine dancing, and her own spunky choreography that we have seen in two of the Harry Haythorne award seasons, are much missed from the company’s ranks.
Back to 1991 and there was something!—the full-length Wolfgang Amadeus, the life and work of the composer, choreographed by Gray Veredon, combining story, drama, poetry, comedy and heartbreak. RNZB seasons were longer then, spanning two weeks, so we had more chance for repeat viewings. The entire celebratory work was accompanied by live orchestra, and the Requiem sung by live choir, with singers crowded into the boxes to the sides of the stalls and circle levels. Eric Languet danced Wolfgang. Jon Trimmer played his father, Leopold. Who could forget them? Dance history might be mercurial but it is also tidal, and never dies completely.
Recent worldwide weather events have seen unprecedented extremes in both directions. As we cool down into autumn in New Zealand, we could be mindful of the northern hemisphere’s rite of spring (loads of daffodils apparently, but still cold and wet). We might all be wondering about the proportion of human responsibility for climate change, and what we, each and together, can do about it. So what’s that got to do with dancing? Well, nothing and everything. It’s a global globe that’s turning and we’re all on it.
Recent remarks locally have stated that the New Zealand dance scene is so isolated from the rest of the world. Poppycock, I say, isolation is a state of mind and everywhere is isolated from somewhere. We are entitled to believe that the centre of the world is wherever we are on the day, and that size has nothing to do with it. But it is at the same time true that you sometimes want to see a dance that is not on in your town. What to do about that?
Read this website for a review of the recent retrospective of Graeme Murphy’s works by the Australian Ballet. Think about the issues involved in such retros, and follow the Comments with interest. This triggers memories of Murphy’s works for RNZBallet over the years (too few in my estimation). Thought-provoking.
Read Joan Acocella’s insightful writings on dance in the New Yorker. Her recent pieces on Arthur Mitchell, Twyla Tharp, Alex Ratmansky give rich commentary on dance in America at its best. Acocella is for me the most lucid dance writer in the English language and I hang on her words. You can catch four articles per month in the New Yorker online, or inherit copies from your kind subscribing friends.
Watch Sky Arts television channel’s current broadcast of the 90 minute programme of Patricia Brown’s work. I’d seen photos of her dancers for years but never watched them in motion. Now I have. Intriguing.
Be glad of Arts Festivals. Both Wellington and Auckland have just ended their seasons, plus Fringes, with a remarkable range of dance events on offer that have brought us great works, still warm and wet, from far afield, as well as new local work with much cause to celebrate. RNZBallet’s The Piano:the ballet (see review below); English National Ballet’s Giselle (s.r.b.); Crystal Pite’s and Jonathan Young’s Betroffenheit (s.r.b.); Michael Parmenter’s Orpheus; Malia Johnston’s Rushes; and the all time standout for me in Michael Keegan Dolan’s Swan Lake Loch na hEala (already reviewed on this website at this link)
In recent years Auckland has staged a festival in the alternate years to Wellington’s longer-established biennial, and the airlines were happy as folk winged their way north or south. That worked fine. Now however Auckland has made theirs an annual festival, to run concurrently with Wellington’s, and that does not work fine. I was conscious of a number of friends who watched wistfully as I flew to Auckland for English National Ballet’s Giselle. A number of other friends did go north too but, in doing so, missed out on the remarkable Betroffenheit back here in Wellington. I fear that the two festivals going up against each other across the same three weeks (they claim to co-ordinate and share events, but they do not…) will cause over time a weakening of both programs, and confuse the punters. Australia staggers her cities’ festival seasons better than we do, which makes sense, and also keeps the airlines happy.
I had to fly back to Auckland within the same week for the legendary percussion ensemble, From Scratch, headed by Philip Dadson. (I had danced to their Drumwheel in performances at the National Art Gallery in 1979. Now the striking Carol Brown dances to the same work. Interesting contrasts). My daughter was also involved in a collaboration with From Scratch at the breathtaking Te Uru gallery complex in Titirangi, west Auckland, the great Manukau harbour sprawling below the rooftop venue, in the treetops, at sunset … the first site specific performance of the many I have attended that has ever really thrilled me.
Back in Wellington The Flamenco Project, by Isabel Rivera Cuenca from Barcelona, was the Fringe Festival’s triumph, a strong and spirited yet subtly playful offering of the best of southern Spain—with return visits to New Zealand on offer. The fabulous Cuba Dupa street festival, as fringe to the Fringe, just squeezed in before the end of a golden summer. Included was a riveting Javanese wayang kulit shadow puppet show by dhalang Joko Susilo, effortlessly accompanied by the local Gamelan Padhang Moncar. The astonishingly dance-like arm movements of the puppets was a revelation of this dhalang’s expertise.
Withdrawal from Festival mania? Nah, no time for the blues. Within a day a local cinema was screening Royal Ballet’s The Winter’s Tale by Christopher Wheeldon in live telecast. A knockout. The Bernstein Project and Manon are coming hard on its heels. Isolated in New Zealand? If you say so, but I don’t.
The Royal New Zealand Ballet has just completed the national tour of The Piano: the ballet, which saw seasons in both Wellington and Auckland festivals then to eight? cities nationwide. Following inspiration of Jane Campion’s celebrated film from 1980s, the ballet is choreographed by Jiri Bubenicek, in collaboration with his brother Otto on music and design.
The work was originally commissioned for RNZB by Francesco Ventriglia, and extended into two acts from its beginnings as a one-act for Dortmund Ballet in 2014.
(very interesting to read their online promo of that production. I guess isolation works in a variety of ways)…
Specifically for Ballet Dortmund he [Bubenicek] has arranged his newest creation, inspired by Jane Campion’s Oscar-winning film The Piano. He tells the story of a mute woman living in Australia in the 19th century, at the outpost of civilization. In the midst of brutal plantation owners and disenfranchised aborigines she can only express herself through the piano. Together with the film’s Australian director, Jiří and Otto Bubeníček sought the original setting of the film to find out what art can be for people who find themselves in extreme situations—everything.
RNZB’s was a major project that has attracted nationwide accolades for the production, and rightly praising outstanding performances by Abigail Boyle and Paul Mathews, among others in alternate casts. The role of the child was a fabulous opportunity for a juvenile player, making far more dramatic demands than the usual cute child dancer cast in many a ballet you and I have seen. (see theatreview, for links to a number of reviews of the production).
The mise en scene of New Zealand land and seascapes was impressive, monumental even, yet did not overpower the danced story. The music excerpts were sourced from numerous different works by numerous different composers, and some (well, me anyway) found that problematic, sensing an opportunity missed by the Company not to have commissioned a New Zealand composer to produce a through-composed score (such as Gareth Farr? John Psathas? There are also other composers who could have managed it, and the cost would not be astronomical alongside the rights to composers, recording companies and performers that must have been required). If that were in place (and it still could be) the work could tour Europe and show the world we’re the best little ballet company on Earth. As it stands the music does not cumulatively and fully support the shift between the picaresque Act One and the emotional depths of Act Two. Some colleagues found a familiar music excerpt distracting when they heard it, wondering (‘Oh, I know that piece so well … whatever is it?. Oh whoops, he’s fetched an axe … what’s he going to do with it now?’)
The ballet has raised other interesting issues along the way, prominently the depiction of Maori in the choreography. Even though respected Maori choreographer, Moss Paterson, was brought in to oversee that dimension, a raft of patronising Pakeha nevertheless commented that the performance of haka should not be left to ‘European’ dancers, and that Maori dancers should themselves be included in the cast instead. One could reply that the challenge to professional dancers in the theatre is to portray ‘other’ in almost every role they take. They may not particularly identify with a repressed and violent husband, a reluctant or duplicit lover, or specially feel like a Cupid or Tinkerbell, a sylphide, or Te Rauparaha, but that’s their trade and the best of them do it with aplomb … witness Abigail Boyle, witness Paul Mathews (whose internalised haka of fury upon discovering he had been cuckolded crosses all ethnic divides) and witness Luke Cooper, Maori dancer in RNZB.
Depiction of Maori in RNZB repertoire over the years has not happened often. Ihi Frenzy, with Te Matarae I Orehu, back in Matz Skoog’s day as director, was one.
(The real strength of that project was to take company to the marae in Rotorua for an immersion orientation…then to tour both ensembles nationwide. By the end of that tour, RNZB dancers were indistinguishable from Maori at the haka finale). The indelible memory for me however is from Gray Veredon’s Tell me a Tale, (during Harry Haythorne’s directorate) when Warren Douglas played the Maori brother, who warned the Pakeha settler coming ashore that his sister would not be available as a girlfriend, and confirmed that in haka. End of story. We could well see that work again—Jon Trimmer, Kerry-Anne Gilberd and Kim Broad who played the lead roles are all still around and could help Gray Veredon with re-staging. Design by Kristian Fredrikson was one of his best, and the choreography suited our company extremely well.
The choreography of The Piano follows Campion’s film in great and faithful detail, including the spirited caricature of the preacher and local congregation of early settlers. I found it a good idea to watch the film again, in tandem with this ballet—and you couldn’t help but notice that the choreographed portrayal of Maori was immensely more successful than the film’s very peculiar treatment of ‘the natives’ who lay around mostly swathed in blankets and draped in mangrove trees.
Having said that, I also noted that I very much preferred the film’s shape-shifting epilogue to the ballet’s ambiguous ‘ending’. Plays in the theatre have endings. The ballet would be stronger for having one too. Then it could really take Europe by storm. There’s the wero to you.
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.’
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.
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.
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.
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
16 & 18 February 2017, Isaac Theatre Royal, Christchurch (opening of national tour)
The first work on this program, l’Arlésienne, is over 40 years old, and the second, Carmen, is pushing 70 years. Both are dramatic one-act ballets by leading French choreographer, Roland Petit, hitherto only known by reputation here in New Zealand, or through film of his work, which often starred the stunning dancer, Zizi Jeanmaire, his wife.
Francesco Ventriglia, RNZB’s artistic director, was influenced by Petit in his own early career and he has judged well how much these works would suit our company. Unlike ballet’s classics, Swan Lake and the like, which can be staged in new settings (much as we are familiar with Shakespeare in modern dress), these works by Petit are not in the public domain, and need to be re-staged with impeccable care by the trustees of his repertoire.
A number of our dancers find scope for their talents, with personality, stage presence, comoedic gifts and individual character (more than in your average/larger ballet company, where the perfect symmetry of the many is aspired to). We saw talent in spades among the different casts in Christchurch.
In l’Arlésienne, a young man on the eve of marriage to a beguiling young woman is suddenly struck with confusion, and haunted by the vision of ‘the girl from Arles’, whom we never meet, save through the reflection of his eyes. Shaun James Kelly played the lead role with an astonishing portrayal of the onset of his mental disarray. The role of the bride was most poignantly danced by Madeleine Graham. and the corps of villagers dance a compelling semi-ritualised support to the unfolding drama. This then is in no way the frivolous cabaret number I had been expecting to act as curtain-raiser for the main work, Carmen. It is a tight and strong classic work that mesmerises the audience towards the inevitability of its conclusion, and Kelly’s performance will be long remembered.
The opening cast of Carmen had guest artist Natalya Kusch in the title role, her excellent technique and poetic style proving most attractive, and with Joseph Skelton dancing beautifully as Don José, initially unsuspecting but growing into all the heartbreak of the role. Kirby Selchow as the Bandit Woman lit up the stage, and the cameo comic role of the Toreador was hysterically sent up by Paul Mathews. But it was Mayu Tanigaito, in the following cast, who absolutely nailed the role of Carmen as the minx, the coquette, the sexy wild and headstrong woman who will not be tamed, by any man, at any price. Tanigaito is an astonishing performer in any role, one of the RNZB’s strongest dancers. Daniel Gaudiello was a strong and convincing Don José, and Kohei Iwamoto a striking Chief Bandit.
So, a number of highlights among the members of each cast. My advice is to see them both—but do refrain from the patronising and disruptive outbursts of applause that pepper throughout performances, and drive me to distraction. The dancers know when they’ve done a good multiple pirouette or barrel turn, but this is not the circus. Let them get on with developing the drama or poetry within the work, and please save your applause to the end.
The Canberra Critics’ Circle, a group of Canberra-based, practising critics from across art forms, presented its annual awards in November. Two awards were given in the dance area.
Liz Lea: For her innovative promotion of dance in the ACT exemplified by her co-ordination and presentation of “Great Sport!” at the National Museum of Australia, which spectacularly showcased the work of The Gold Company, Dance for Parkinson’s, Canberra Dance Theatre, and of a number of local and interstate choreographers, in a memorable and remarkable presentation.
Alison Plevey: For her tireless and consistent efforts as a dancer, choreographer and facilitator towards advancing professional contemporary dance in the A.C.T through her performances, collaborations, and programs, culminating in the establishment of her dance company, Australian Dance Party.
As indicated in the citations, both Plevey and Lea have contributed to the growth of a renewed interest in dance in Canberra. A preview of Plevey’s forthcoming show, Nervous, is below under ‘Press for November 2016’. My review of Great Sport!, facilitated, directed, and partly choreographed by Lea is at this link.
The Nutcracker: Queensland Ballet
A second viewing of Queensland Ballet’s Nutcracker, with a change of cast, had some new highlights. Neneka Yoshida was a gorgeous Clara. She was beautifully animated and involved throughout and there were some charming asides from her with other characters during those moments when she wasn’t the centre of attention. Mia Heathcote took on the role of Grandmother, a role that couldn’t be further from her opening night role as Clara. But she created a very believable character and, as we have come to expect, never wavered from her characterisation. Tim Neff was a totally outrageous Mother Ginger and Lina Kim and Rian Thompson gave us a thrilling performance as the leading couple in the Waltz of the Flowers.
Another exceptional performance from Queensland Ballet.
Ella. A film by Douglas Watkins
Ella, which premiered earlier in 2016 at the Melbourne International Film Festival, traces the journey of Ella Havelka from a childhood spent dancing in Dubbo, New South Wales, to her current position as a corps be ballet member of the Australian Ballet. My strongest recollection of Havelka with the Australian Ballet is her dancing with Rohan Furnell as the leading Hungarian couple in Graeme Murphy’s Swan Lake when I called their performance ‘very feisty’.
I found the film largely unchallenging, however, and footage of Havelka dancing with Bangarra Dance Theatre was far more exciting to watch than that showing her with the Australian Ballet. Not only that, the commentary from Stephen Page on the nature of Bangarra, and Havelka’s role as an Indigenous Australian in that company, was far more pertinent and gutsy than the rather non-committal remarks from interviewees from the Australian Ballet. An opportunity missed from several points of view?
Royal New Zealand Ballet
Royal New Zealand Ballet is seeking a new artistic director to replace Francesco Ventriglia who will leave his position in mid-2017. Ventriglia will depart ‘to pursue international opportunities.’ Before he departs New Zealand he will take on the new role of guest choreographer to stage his own production of Romeo and Juliet in August. His planned repertoire for 2017 includes works by Roland Petit and Alexander Ekman.
Late news: Ruth Osborne
Ruth Osborne, artistic director of QL2 Dance in Canberra, has been awarded a Churchill Fellowship to pursue her interest in developing dance projects for young people. More in a future post.
Press for November 2016
‘Wonderful version of Christmas classic.’ Review of The Nutcracker from Queensland Ballet. The Canberra Times, 25 November 2016, p. 37. Online version.
‘Under the microscope.’ Preview of Nervous from Australian Dance Party. The Canberra Times —Panorama, 26 November 2016, p. 15. Online version.