Dance diary. March 2020

  • Award for Michelle Ryan

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

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

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

  • Art, not Apart, 2020

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

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

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

  • National Photographic Prize

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

  • David Hallberg

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

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

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

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

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

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

Michelle Potter, 31 March 2020

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

Marcel Cole in 'Free as a Bird'. On course, 2019. Photo: © Andrew Sikorski/Art Atelier

On Course. QL2 Dance

15 December 2019. QL2 Theatre, Canberra

On course, a program providing opportunities for emerging choreographers currently studying at tertiary institutions, is now in its thirteenth year. The 2019 program consisted of eight live choreographic productions and two short films. Most of the creators and performers had previously danced with QL2 Dance, Canberra’s youth dance organisation, and on this occasion creators came from the Victorian College of the Arts (VCA), Western Australian Academy for the Performing Arts (WAAPA) and the New Zealand School of Dance (NZSD).

The absolute stand out work to my mind was Free as a bird, choreographed and danced as a solo by Marcel Cole, former student of Kim Harvey in Canberra and now a contemporary major at NZSD. Cole walked into the performing space and announced ‘This is not a comment on ballet.’ He then proceeded to dance an excerpt from Solor’s variation in La Bayadère. While somewhat constricted by the small space of the QL2 blackbox theatre, and perhaps by a little lack of attention to some details, we could not help but be swept away by his elevation, those fabulous cabrioles, and a manège of jetés.

But what made Free as a bird an exceptional piece was what came after. Cole is looking towards contemporary dance these days and, after the Bayadère solo, he began to question the direction of his life. He went to an imaginary barre, did a couple of pliés, left the barre, then came back, and left again before suggesting that while studying ballet he had been walking in a straight line—with clear direction—but that now he was moving along a different path. I could have done without the verbal explanation at the end because it was perfectly obvious from the movement, and from Cole’s strong presence, what was happening. The work finished with Cole turning in a small circle with his arms tracing a meandering pattern in the air. The concept behind the work quite clear. No words were necessary.

This brings me to another point. Almost without exception the choreographers chose to use the spoken word in their creations. I’m not sure why this was thought to be necessary. In my experience the most powerful choreography expresses the creator’s ideas through movement, without a verbal explanation. There are some things that dance can’t say well of course, but let’s not dance what we have to say. It was interesting too that the one creator who used quite minimal verbal intervention was Mia Tuco who is currently enrolled at the VCA in a Bachelor of Fine Arts in Acting! Her work, I was the angel in the poem you wrote, was clearly and strongly constructed and again needed no words.

Another strong work on the program was Caspar Ilshner’s Eye to Eye. Its strength lay in the work’s coherence in which the music (composed by Ilshner himself, another NZSD student); the choreographic structure; and the costumes had all been thought through clearly and all contributed well to the whole. I especially admired the way in which Ilshner manipulated groups of dancers to show us various aspects of human interaction.

Scene from Eye to Eye in On Course, QL2 Dance 2019. Photo: © Andrew Sikorski/Art Atelier

Having taken my stand re words and dance, I have to say I enjoyed Ruby Ballantyne’s My roommate is a very heavy sleeper. The often amusing story was narrated as a voice-over, and the choreography really only played a secondary role as far as I am concerned. But then that’s something different from choreography that has to explain itself in words. Ballantyne is studying at WAAPA.

I also especially enjoyed Jason Pearce’s Kafka, which was the first of the two short films presented at the beginning of the evening. Pearce has just recently graduated from the VCA and his film focused largely on a close up of a particular part of the body in movement. We mostly saw the back of the torso and it was mesmerising for the glimpse it gave us of spinal movement.

On Course is a wonderful initiative. I had particular favourites but I was pleased to see such a range of ways in which choreography can be approached and in which ideas can be presented.

Michelle Potter, 17 December 2019

Featured image: Marcel Cole in Free as a Bird from On Course, 2019. Photo: © Andrew Sikorski/Art Atelier

Marcel Cole in 'Free as a Bird'. On course, 2019. Photo: © Andrew Sikorski/Art Atelier

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

Scene from 'Power'. QL2, 2019. Photo: © Lorna Sim

Power. QL2 Dance

18 October 2019. Theatre 3, Canberra. The Chaos Project

The Chaos Project has long been a feature of the Canberra dance scene. Designed for the young and less experienced of the dancers who are part of the QL2 Dance community, each year it has a different theme. This theme is examined through a series of short works, which are combined seamlessly into one, hour-long production. Each section is choreographed by a professional choreographer and a few older dancers from the broader QL2 Dance community join with the younger ones to help the overall work move along effectively.

In 2019 the Chaos Project had the theme of power—in a variety of manifestations. The youngest performers danced out ideas of physical power, to choreography from Olivia Fyfe. The intermediate group (intermediate in age and experience) examined, through the choreography of Alana Stenning, the idea of ‘superheros’ and asked the question ‘who is the real superhero’? The older dancers performed choreography by Steve Gow and their theme centred on who abuses power and who uses it wisely. An introduction and conclusion were choreographed by Ruth Osborne and two other works completed the program, one an all-girl piece with choreography by Fyfe and Stenning, and one for boys only with choreography by Gow.

Scene from Alana Stenning’s ‘And I’m…’ from Power. QL2 Dance, 2019. Photo: © Lorna Sim

Choreographically, Power was well-constructed throughout and what always surprises me (although by now it probably shouldn’t) is how the technical limitations one might expect to see in young dancers are in fact never obvious. If they are asked to move in unison, they do. If a solo is required it always looks strong. And the sheer dedication and involvement of every dancer shows clearly. Credit here to the choreographers!

Perhaps the most fascinating part of Power was the all-girl section, ‘I Rule’, from Fyfe and Stenning. As it began the voice of a narrator could be heard telling the story of a princess in a far away land and her impending relationship with a suitor. My heart sank momentarily. But, as the dancers began to act out and dance this story, their attitude began to change. Towards the end they rejected the story and the role the princess was expected to play and by the very end their outraged voices drowned out the narrator. Feminist power at work!

Scene from ‘I rule’ from Power. QL2 Dance, 2019. Photo: © Lorna Sim

The Chaos Project is a great initiative from QL2 Dance. It gives young dancers opportunities they rarely get elsewhere. Those opportunities include in particular the power to make a creative input to dance, since the dancers contribute ideas on how the work will unfold, both conceptually and technically. But it also gives them the opportunity to see how a professional choreographer works; how to use the space of the stage effectively; and more.

The Chaos Project is just one of the ways that QL2 develops and nurtures potential artists and audiences and gives work to professionals working across the arts.

Michelle Potter, 21 October 2019

Featured image: Scene from the closing moments of Power. QL2 Dance, 2019. Photo: © Lorna Sim

Scene from 'Power'. QL2, 2019. Photo: © Lorna Sim
Scene from ‘Power’. QL2, 2019. Photo: © Lorna Sim

Filling the Space. Quantum Leap/QL2 Dance

8 August 2019. The Playhouse, Canberra Theatre Centre

As the curtain went up on QL2’s 2019 Quantum Leap production, Filling the Space, I sat up with a jolt. There were a couple of ballet barres onstage and dancers standing in ballet positions, even doing the occasional demi-plié. Not only were we faced with the barres and the pliés but the entire space of the Playhouse stage was stripped of its usual accoutrements—no legs or borders to mask the wing space or to hide the lighting or flies. Everything that is usually hidden from the audience was on show. What was this? Well, it was the beginning of James Batchelor’s Proscenium and Batchelor, now with a good number of works behind him, has never left us in any doubt that what he creates will be unusual in approach and leave us to ponder on what his works are about.

But what made Filling the Space, the overall production, so fascinating was that it showed off the diversity of the choreographic voice. We saw the work of three choreographers, Batchelor, Ruth Osborne and Eliza Sanders, and it would be hard to find three works so different in conception and vocabulary.

Batchelor’s Proscenium examines the space of the stage both within and beyond the structure that frames that space—the proscenium. It was rewarding to consider the particular use of the space he identified in the context of dance and architecture, which was the overarching theme of Filling the Space. But for me Batchelor’s use of the architecture of the stage space was not the most interesting feature of his work. His choice of movement vocabulary was the highlight. It ranged from extremely slow and intensely detailed, even introspective, movement to faster unison work with some partnering that relied on balance and support. As well there was extensive manipulation of those barres and other metal frames, some that dropped from the flies, others that looked like clothing or costume racks. At one point we watched a circus-like stunt with one dancer balancing on a narrow support joining the end parts of one of those racks while another dancer spun the whole structure with ever increasing speed in a giant circle. At another point, rows of chairs were brought onstage and dancers entered, sat down, moved some parts of the body, then rose and, with arms still in the pose they had taken while seated, made their exit. Batchelor was examining how stage space can be filled and emptied in various ways, but it was the way in which that examination occurred that was more interesting than the fact that it occurred.

A moment from Proscenium. Quantum Leap, 2019. Photo: © Lorna Sim

Ruth Osborne’s Naturally Man-Made was danced against a background of footage shot on and around the grand staircase of Canberra’s Nishi building, a staircase made of recycled timber and a spectacular part of the building. Sometimes we saw the staircase as an installation devoid of people, at other times the footage included dancers performing on the staircase. In front of this footage dancers performed what might be called Osborne’s signature style—mass groupings of dancers with occasional break away moments. It fulfilled nicely, if in an obvious manner, the concept of dance and architecture.

Dancers of QL2 in Ruth Osborne’s Naturally Man-Made, Quantum Leap 2019. Photo:
© Lorna Sim

Eliza Sanders had a totally different take on what constitutes architecture. Her work, The Shape of Empty Space, looked at emotional responses to different spatial environments. In this work her movement vocabulary was almost like mime. It focused on two main emotions, a feeling of being wild and free in some environments, with an accompanying flinging of arms, legs, and indeed the whole body in an unrestrained way; and a feeling of being crowded into a tight space, with an accompanying restraint in movement and groupings of dancers. The work was stunningly lit by Mark Dyson with well lit spaces alternating with hidden spaces set up by black curtains hanging at intervals in the performing space. It was architecture built by light and darkness through which we watched dancers appear and disappear. The work had a sculptural ending as dancers built an architecture of their own.

Dancers of QL2 in Eliza Sanders‘ The Shape of Empty Space, Quantum Leap 2019. Photo:
© Lorna Sim

Both Batchelor and Sanders are QL2 alumni who are now working professionally as independent dancers and choreographers. Osborne is an early mentor to them. How lucky are the current dancers of QL2 that they get to work with choreographers whose creativity is so different, whose vocabulary is so individualistic, and whose work is so fascinating to watch, and so interesting to think about.

Michelle Potter, 10 August 2019

Featured image: Dancers of QL2 in James Batchelor’s Proscenium. Quantum Leap 2019. Photo: © Lorna Sim

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

Dance diary. November 2018

  • The changing face of Bangarra Dance Theatre

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

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

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

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

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

Robert Helpmann book cover

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

Available from Dance Books Ltd and other retailers.

  • Canberra Critics’ Circle Awards, 2018 (Dance)

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

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

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

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

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

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

  • James Batchelor

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

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

  • NGA Play. Sally Smart

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

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

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

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

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

Michelle Potter, 30 November 2018

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

Elma Kris and Daniel Riley in 'Spear'. Photo Tiffany Parker
Promotional image for QL2's Belong, 2018. Photo: Lorna Sim

Dance diary. October 2018

  • Belong. QL2’s Chaos Project for 2018

Every year Canberra’s young dancers audition for the Chaos Project staged by QL2. The umbrella name suggests the chaotic situation with which the project begins—in 2018 there were 45 young dancers, boys and girls, aged from eight upwards. But of course by the time the show hits the stage the chaos is gone and, despite the age and experience of the dancers, we the audience are always treated to a wonderful evening of youth dance. The 2018 project, called Belong, had sections choreographed by Olivia Fyfe, Jodie Farrugia and Luke Fryer with Ruth Osborne adding (with her usual flair) an opening and closing section. The topic for exploration—‘belonging’—generated some interesting choreographic responses including the addiction (and disconnection from others) to smart phones and social media; supporting others in a variety of ways; bullying; and other similar matters affecting young people. Dance for the times!

  • Liz Lea and RED

Liz Lea will present her truly exceptional work RED in Liverpool, England, in November as part of the LEAP Festival. It will have a one-off performance on 7 November at 6pm at the Warehouse Studio Theatre, Hope University Creative Campus. RED premiered in Canberra earlier this year. Follow this link for my review of the premiere performance.

Liz Lea in a study for RED, 2018

Liz Lea in a study for RED, 2018

  • Sydney Dance Company in 2019

Sydney Dance Company has announced its season program for 2019, which will celebrate what is the company’s 50th anniversary. Season choreography will be by Rafael Bonachela, Gabrielle Nankivell, Melanie Lane and Gideon Obarzanek. Full details at this link.

While each of the three programs that will take place over 2019 promises something unusual, it will definitely be fascinating to see what Obarzanek does with a work called Us 50 in which, in the spirit of the anniversary, he will use 50 dancers drawn from former and current company dancers, along with members of the community.

Former and current dancers from Sydney Dance Company: (left to right) Kip Gamblin, Linda Ridgeway, Rafael Bonachela, Sheree Zellner (da Costa), Lea Francis and Bradley Chatfield. Photo: Pedro Greig

  • Oral history: Ariette Taylor

My most recent oral history interview for the National Library was with Ariette Taylor, whose contribution to the work of Australian Dance Theatre during the directorship of Jonathan Taylor has probably not been fully explored to date. In addition to a discussion of her work in Adelaide, the interview includes Taylor’s background as a dancer in Holland and with Ballet Rambert, and her work as a theatre director after the Taylor family moved from Adelaide to Melbourne.

  • Remi Wortmeyer

As part of my research for the interview with Ariette Taylor I was searching for information about Mascha ter Weeme, who directed Ballet der Lage Landen, which Taylor joined in Amsterdam in 1957. I accidentally came across some news about Remi Wortmeyer, former dancer with the Australian Ballet and now principal with the Dutch National Ballet. This is old news (from 2016) but I had not come across it before so am posting it here in case any of my readers have also not heard it.

Wortmeyer was, in 2016, the recipient of the beautifully named Mr Expressivity Award at the international ballet festival, Dance Open, in St Petersburg. The trophy, I understand, replicates the lower leg of Anna Pavlova!

Remi Wortmeyer . Mr Expressivity, 2018
Remi Wortmeyer trophy

Wortmeyer’s website is at this link and the images above are from this site.

  • Jacob’s Pillow (again)

The latest post from Jacob’s Pillow is a series of video clips with the links between the clips centring on black costuming. There is a clip of David Hallberg dancing Nacho Duato’s solo Kaburias, which makes me think back to that wonderful piece, Por vos muero, which was at one stage in the repertoire of the Australian Ballet but not seen for a number of years now. For my New Zealand readers there is a short clip of an early piece by Black Grace, Minoi, seen at the Pillow in 2004. Then there is a mesmerising clip from Un ballo, a work choreographed by Françoise Adret,with perhaps a nod to Duato, for Lyon Opera Ballet. Lots more. Check out the Pillow’s dance interactive site .

  • Meryl Tankard’s Two Feet

I have long regretted that Meryl Tankard’s solo show Two Feet has never been revived. Well news just in from the Adelaide Festival 2019 is that Tankard is reviving the work for next year’s festival. It will feature the remarkable Natalia Osipova. I imagine tickets will fly out the door!

  • Press for October 2018

‘Bravissimo bringing ballet gala to town.’ Preview of World Superstars of Ballet Gala, Bravissimo Productions. The Canberra Times, 1 October 2018, p. 20. Online version

‘Uneven but often impressive show.’ Review of Happiness is …, Canberra Dance Theatre. The Canberra Times, 16 October 2018, p. 20. Online version

Michelle Potter, 31 October 2018

Featured image: Promotional image for QL2’s Belong, 2018. Photo: © Lorna Sim

Promotional image for QL2's Belong, 2018. Photo: Lorna Sim

 

'Strong and Brave'. QL2 Dance, 2018. Photo: ©Lorna Sim

Strong and Brave. QL2 Dance & National Portrait Gallery

22 & 23 September 2018. National Portrait Gallery, Canberra

The National Portrait Gallery in Canberra has once again supported dance as an adjunct to its exhibition program. In conjunction with So Fine, an exhibition celebrating work made by contemporary women artists, Ruth Osborne has created four short dance pieces under the umbrella title Strong and Brave. The four works reflect selected works from So Fine and use dancers from QL2 Dance—Oongah Slater, Alana Stenning, Serene Lorimer, Akira Byrne and David Windeyer. It perhaps helps to see the exhibition before watching the dance. My observations about the relationships between the art and the dance may not coincide with those of others.

The opening item was, I decided, a reflection on the art of Valerie Kirk who expressed, in captions accompanying the exhibition, her interest in ‘textile tradition and culture’. It was a lovely bit of choreography for three women who often worked together but often also separated from each other and became absorbed in the full skirts of the costume they were wearing.  It was eminently watchable dancing, and in the end it didn’t matter so much about the reference.

'Strong and brave'. QL2 Dance, 2018. Photo: Lorna Sim
Art by Valerie Kirk. So Fine, National Portrait Gallery, 2018

(left) Strong and Brave, QL2 Dance 2018. Photo: © Lorna Sim; (right) Art by Valerie Kirk. So fine, National Portrait Gallery, 2018

The most moving dance item for me was the second piece, which clearly related to images by Fiona McMonagle referencing Britain’s child migration scheme by which thousands of children were sent to Australia for ‘a better life’. Two young dancers interacted with pleasure and excitement, two grown ups offered comfort on the one hand, but demanded conformity and obedience on the other. Bouquets in particular to the two young dancers who met, interacted and stood together through it all.

Strong and Brave, QL2 Dance, 2018. Photo: Lorna SimStrong and Brave. QL2 Dance 2018. Photo: © Lorna Sim

The third work on the program was also moving, although in a somewhat different way. It was largely a solo and seemed quite introspective. It appeared to reflect the art work of Leah King-Smith whose portraits of her Aboriginal mother are presented in the exhibition as layered works using photographs taken by her father, The original photographs have been subjected to a range of contemporary techniques and the finished works have achieved a softly distorted appearance. King-Smith calls her work ‘photography dreaming’. Osborne has used a piece of white, gauzy material to achieve a similar look and the work is dreamlike and emotionally affecting.

Strong and Brave. QL2 Dance 2018. Photo: © Lorna Sim

The final work was the least successful, largely because it lacked the subtlety of the previous three works. It reflected the art work of Linde Ivimey who accompanied a friend on a voyage to the Antarctic and made a series of small sculptures based on that journey.

Strong and Brave, QL2 Dance, 2018. Photo: Lorna Sim

(left) Strong and Brave, QL2 Dance 2018. Photo: © Lorna Sim; (right) Art by Linde Ivimey. So fine, National Portrait Gallery, 2018

It is a privilege to have seen several of the collaborations that have developed between the National Portrait Gallery and Canberra’s dance organisations. The Gallery now has a new director and will also be closing for several months in 2019 for renovations to the building. I hope in these renewed circumstances dance/art collaborations will continue. It gives us an opportunity to ponder about art in both its visual and performing genres. That can only be a good thing.

Michelle Potter, 26 September 2018

Featured image: Two young migrant children in the second movement of Strong and Brave, 2018. Photo: © Lorna Sim

Strong and Brave. QL2 Dance, 2018. Photo: Lorna Sim

Scene from 'Where we gather' from Two Zero, Quantum Leap, 2018. Photo: © Lorna Sim

Two Zero. Quantum Leap

For reasons that escape me, my Canberra Times review of Quantum Leap’s Two Zero, filed first thing Friday morning (the morning after!), has not yet appeared online, as is the usual practice. The review may appear in the print edition of The Canberra Times on Monday 13 August. In the meantime, here is an expanded version of that review.

9 August 2018, The Playhouse, Canberra Theatre Centre

Two Zero celebrates twenty years of dance by Quantum Leap, Canberra’s youth dance ensemble and the performing arm of QL2 Dance. The program was set up as a continuous performance in eight sections, three of which were restagings of works from previous seasons with the other five being works newly created for this particular occasion.

In the terms of choreography, the standout work was Daniel Riley’s Where we gather. It was first seen in 2013 as part of Hit the Floor Together and was remounted for this 2018 season by Dean Cross with final rehearsals overseen by Riley. Where we gather explored the idea of young people from Indigenous and non-Indigenous backgrounds working together. It showed Riley’s exceptional use of organic and rhythmic movement patterns, and his remarkable feel for shape, line, and the space of the stage. It had been so well rehearsed and was so beautifully danced that it was hard to accept that the dancers were part of a youth ensemble. The film that preceded it (also from 2013) was a fascinating piece of footage showing, with close-ups and long shots, dancers performing outdoors in a landscape that epitomises the ‘wide brown land’ of Australia. The seamless transition from film to live performance was engaging to say the least as a scrim that had been the screen slowly lifted to reveal the dancers onstage in more or less the same position as the final screen image. And the dancing began. Where we gather with its accompanying film opened the show and set the scene for an evening of which QL2 Dance can only be extraordinarily proud.

'Where we gather' from 'Two Zero'. Quantum Leap, 2018. Photo: Lorna Sim

From film to performance of Where we gather from Two Zero. Quantum Leap, 2018. Photo: © Lorna Sim

Jodie Farrugia’s This land is calling from the project Identify of 2011 was remounted for this season by Alison Plevey and was perhaps the most moving work on the program. Its focus on aspects of migration to Australia from the arrival of convicts to the present waves of refugee migration was powerfully yet simply presented. Suitcases were used as props by some, others had nothing, a convict was chained round the wrists. Groupings were sometimes confronting, sometimes comforting. It was a thoughtful and forceful piece of choreography enhanced by lighting and projections that opened our eyes to the extent and diversity of migration to this country.

Scene from 'This land is calling' in 'Two Zero'. Quantum Leap, 2018. Photo: © Lorna Sim

Scene from This land is calling from Two Zero. Quantum Leap, 2018. Photo: © Lorna Sim

I was intrigued by Eliza Sanders’ section called Bigger. It was a new work for ten female dancers, which examined the impact of shared female experiences and their outcomes. Sanders choreographs in a way that seems quite different from her colleagues. Her movement style is mostly without the extreme physicality of other Quantum Leap alumni and yet is fascinating in its fluidity and emphasis on varied groupings of dancers. I was not all that impressed, however, with its opening where all ten dancers were huddled (or muddled) together each holding some kind of reflecting object. It turned out to be a sort of perspex magnifying glass that indicated (we slowly discovered) the growth of experience. I could have done with less emphasis on the magnifications. The moments without them were full of joyous movement.

Scene from 'Bigger' in 'Two Zero'. Quantum Leap 2018. Photo: © Lorna Sim

Scene from Bigger from Two Zero. Quantum Leap 2018. Photo: © Lorna Sim

Other works were by Sara Black, Fiona Malone, Steve Gow and Ruth Osborne. All added an individualistic perspective to the evening.

One aspect of the show bothered me. Black and white striped, calf-length pants were a feature of the costume design for several sections and were worn under differently coloured T-shirts. They worked in some but not all sections. In Ruth Osborne’s Me/Us, a new work in which the dancers spoke of their thoughts about themselves and where they saw their place in society, they were at their best. Similarly they worked well in Steve Gow’s strongly choreographed Empower. But I thought they looked ugly underneath the white floating garments used in Bigger.

Scene from 'Me/Us' in Two Zero. Quantum Leap, 2018. Photo: © Lorna Sim

Scene from Me/Us from Two Zero. Quantum Leap, 2018. Photo: © Lorna Sim

Nevertheless, Two Zero was a thrill to watch and its finale Celebrate! showed us a mini retrospective of what had happened before. The achievements of Quantum Leap, its collaborators across art forms, and the remarkable list of alumni who have emerged from it over twenty years, are spectacular. May the work continue for at least another twenty years.

Finale to ‘Two Zero’. Quantum Leap, 2018. Photo: Lorna Sim

Finale to Two Zero. Quantum Leap, 2018. Photo: © Lorna Sim

Two Zero: Choreography: Sara Black, Dean Cross, Jodie Farrugia, Steve Gow, Fiona Malone, Ruth Osborne, Alison Plevey, Daniel Riley, Eliza Sanders. Music: Adam Ventoura, Warwick Lynch. Film: Wildbear Entertainment. Lighting: Mark Dyson. Costumes: Cate Clelland.

Michelle Potter, 11 August 2018

UPDATE (13/08/2018): see the shorter review online in The Canberra Times at this link.

Featured image: Scene from Where we gather from Two Zero. Quantum Leap, 2018. Photo: © Lorna Sim

Scene from 'Where we gather' from Two Zero, Quantum Leap, 2018. Photo: © Lorna Sim

Dance diary. July 2018

  • New patron for Canberra’s QL2 Dance

It has just been announced that Canberra’s youth dance organisation QL2 Dance has a new patron, Sydney Dance Company’s artistic director Rafael Bonachela. He joins Shirley McKechnie, AO, as co-patron following the retirement of Sir William Deane, AC, KBE, QC and Lady Deane who had been much respected patrons for fourteen years.

Bonachela has worked with many former QL2 dancers some of whom have joined Sydney Dance Company to pursue their professional careers, including Sam Young Wright now dancing in Germany with Jacopo Godani’s Dresden Frankfurt Dance Company. Other alumni include Daniel Riley now dancing with and choreographing for Bangarra Dance Theatre, Jack Ziesing formerly with Expressions Dance Company, now with Dancenorth, and James Batchelor, independent artist. Bonachela has recognised the qualities of alumni of QL2 saying:

It is an honour and a privilege to be the QL2 Dance Patron for 2018. QL2 Dance truly sets the example for quality dance in Canberra and nationwide. Over my choreographic career I have worked with many artists that have passed through their doors and commend them all on their professionalism, technique and creativity. The training and performance platform that QL2 offer to youth dancers and emerging artists in Australia is of the highest standard; an invaluable asset to the local community. I look forward to joining and supporting QL2 on their journey into the future.

Quantum Leap, the QL2 performing arm, will celebrate its twentieth anniversary from 9–11 August at the Canberra Theatre Centre with a production called Two Zero. Choreography will be by Eliza Sanders, Stephen Gow, Sara Black, Ruth Osborne, Alison Plevey, Dean Cross and Daniel Riley, with the Quantum Leap Ensemble.

Sam Young-Wright and Chloe Leong in ‘Variation 10’ from Triptych, Sydney Dance Company, 2015. Photo: © Peter Grieg

  • Dame Gillian Lynne (1926–2018)

I was sorry to hear of the death of Gillian Lynne early in July, although I had heard when last in London that she was not at all well. In my April Dance Diary I recalled briefly her work for Robert Helpmann in Australia and more recently for Birmingham Royal Ballet, and also commented on how much I enjoyed reading her autobiography A dancer in wartime. Here is a link to an obituary published in London by The Guardian.

Some time ago now (in 2011 to be exact) when I was working on an article for Dance Research about the Dandré-Levitoff tours, I posted an article on Alexander Levitoff. Very recently a comment on that article was made and in it was included an extremely interesting catalogue of photographs, including some of Levitoff. But there are many others that I have not seen elsewhere.  Here is the link to the 2011 post. Scroll down for the comments and the link.

  • Press for July 2018

‘Dark Emu lacking in structure.’ Review of Bangarra Dance Theatre’s Dark Emu. The Canberra Times, 30 July 2018, p. 20. Online version at this link.

Michelle Potter, 31 July 2018

Featured image: Portrait of Rafael Bonachela (detail), 2013. Photo: © Ben Symons

Dancers of QL2 in 'Not like the others', 2017. Photo Lorna Sim

Not like the others. QL2 Dance

13 October 2017, Theatre 3, Canberra

This year the annual Chaos Project from young Canberra dancers aged from 8 to 18 had the theme of difference. Alison Plevey, currently acting artistic director of QL2 Dance while Ruth Osborne is undertaking research overseas with a Churchill Fellowship, writes, ‘…it explores how we are the same, what makes us different, how do we feel about being different, do we feel pressure to do, think and look the same, and ultimately Not like the others celebrates the joy and power in difference. For young people, being able to be themselves and to feel comfortable in doing so, is critical and the dancers, whether they were 8 or 18, and whatever their level of emotional maturity, embraced the seven separate sections that made up Not like the others with gusto. Using dance as an educative tool is one of the great strengths of QL2 Dance

This year the three choreographers working on the show, Alison Plevey, Steve Gow and Jack Riley, made sure that in each section the theme was very clear. The younger group had a strong section, Square Peg, in which there was an exploration of how they saw themselves. ‘I was born in Canberra’ said one young dancer, and all those who identified in this way grouped themselves with her. Another dancer said ‘I can whistle through my teeth’ and the same thing happened, with appropriate accompaniment. And so on. It was a simple, but effective exploration of the theme, and was the work of Plevey.

I especially enjoyed the section by Steve Gow for an older group of dancers. Called ‘Virtual Identity’, it looked at social media as a way of conforming to expected notions about who we are: ‘Get the perfect picture’, ‘Write the perfect post’ and so on. Visually and choreographically Gow made an arresting statement about conformity and I admired the use of masks to get across the idea of conformity and the lighting (Kelly McGannon) of this section. Gow’s use of groups of dancers in constantly changing arrangements made this section simple but powerful.

Dancers of QL2 Dance in 'Virtual identity' from Not like the others, 2017. Photo: © Lorna Sim

Dancers of QL2 Dance in ‘Virtual identity’ from Not like the others, 2017. Photo: © Lorna Sim

Probably the most sophisticated section was Jack Riley’s ‘Allone’. It explored the idea of the power one person can have in society. Riley used probably the most senior of the dancers to examine this idea and made use of long wooden sticks as props to symbolise the roles one might have in society. I have admired Riley’s shorter works on previous occasions. In these situations, he has the ability to structure a work carefully and intelligently, and to use his widely varied movement experience to get his ideas across. ‘Allone’ was admirable and I suspect its relative brevity was to Riley’s benefit.

Dancers of QL2 Dance in 'Allone'. Photo Lorna Sim

Dancers of QL2 Dance in ‘Allone’ from Not like the others. Photo: © Lorna Sim

As ever, the closing sections of the QL2 show were expertly choreographed as a continuous part of the show. But the highlight of Not like the others was the strength of its message. Having a good idea for a show is one thing. But being able to put it across to an audience with the power that Plevey, her collaborators, and a bunch of young dancers did deserves much respect.

Michelle Potter, 14 October 2017

Featured image: Dancers of QL2 Dance in ‘Square peg’ from Not like the others, 2017. Photo: © Lorna Sim

Dancers of QL2 in 'Not like the others', 2017. Photo Lorna Sim