Dance diary. June 2022

  • Lauren Honcope

I was sorry to miss a recent farewell event for Lauren Honcope, who retired last year, 2021, as President of Ausdance ACT. Honcope joined the Ausdance ACT board in 2009 and became president in 2011.

In addition to her tireless work for Ausdance, including seeing the organisation through some difficult times as far as funding was concerned, Honcope has been one of Canberra’s strongest advocates for dance in the ACT. She has served on the boards of the Canberra Theatre Trust; of Canberra’s first professional dance company, Human Veins Dance Theatre, led by Don Asker; and, perhaps most memorably from that time before her work with Ausdance, of the Meryl Tankard Company. It was, in fact, Honcope who persuaded Tankard to come to Canberra for an interview to take over from Asker after he decided to leave Human Veins to take up a Churchill Fellowship.

As a practising lawyer, Honcope brought strong, professional leadership skills to all her theatrical activities. She was admired by all who had contact with her, and another Canberra resident who was unable to be present at the farewell wrote of her work for Ausdance: ‘She was always generous with her time and wisdom to support the arts, and a true advocate.’

I wish her well as she moves into new endeavours, to which I am sure she will continue to bring that same professionalism and generosity.

  • Impermanence. Sydney Dance Company

Sydney Dance Company has begun an extensive regional tour across New South Wales, Queensland, the Northern Territory and Western Australia of Rafael Bonachela’s 2021 production Impermanence. The tour concludes in Melbourne where it plays at the Arts Centre from 6-10 September. Don’t miss it if it is playing near you. See Sydney Dance Company’s website for details of dates and venues and read my review from 2021 at this link.

Emily Seymour, Jacopo Grabar, and Rhys Kosakowski in 'Impermanence'. Sydney Dance Company and the Australian String Quartet, 2021. Photo: © Pedro Greig
Emily Seymour, Jacopo Grabar, and Rhys Kosakowski in Impermanence. Sydney Dance Company and the Australian String Quartet, 2021. Photo: © Pedro Greig
  • From the past …

During a major clean out of a room in my house I came across a small blue case filled with Leichner products—old sticks of grease paint in numbers 5, 5½, 9 and black, and a container of ‘theatrical blending powder (neutral)’. It was my old (very old) makeup case and, as well as the greasepaint and powder, it also contained a Leichner Make Up Chart no. 16 Ballet, very crumpled and stained. On the back was a list, missing many details, of the first shows I danced in including three Christmas pantomimes, which were the first shows for which I was paid an actors’ equity salary.

Here is the list of those early performances in which I appeared, some of which I had quite forgotten about!
Aladdin Christmas pantomime, 1959
Sydney Ballet Group, Conservatorium 1960
Mother Goose, Christmas Pantomime, 1960
Sydney Ballet Group, Elizabethan Theatre, 1962
Jack and the Beanstalk, Christmas Pantomime, 1962
Musicale, Legion House, 1963
Ballet Australia, Elizabethan Theatre, 1964
Ballet Australia, Cell Block Theatre, 1965 season 1
Ballet Australia, Cell Block Theatre, 1965 season 2
Recital, Australian Academy of Ballet, 1965
Ballet Australia, Cell Block Theatre, 1965 season 3

And below is that crumpled and stained chart. Does anyone use greasepaint these days?

Michelle Potter, 30 June 2022

Featured image: Lauren Honcope speaking at a recent Ausdance ACT event.


ab [intra]. Sydney Dance Company (2022 season)

2 June 2022. Roslyn Packer Theatre, Sydney

It has been Rafael Bonachela’s long-term ambition to have return seasons of his 2018 work ab [intra]. He achieved that ambition this year with a well-received season in France and, more recently, with a Sydney season that opened on 2 June at Roslyn Packer Theatre, Walsh Bay. Return seasons for contemporary works are unusual, but then ab [intra] is an unusual work and definitely worthy of more than one season.

Seeing ab [intra] this time was a rather different experience from that of 2018. The cast was quite different for a start, and I was also sitting much closer to the stage, which gave me quite a new take on the work. Although the work is meant to be quite abstract in the sense that Bonachela says that the work is ‘a representation of energy’, sitting close to the stage gave me a strong feeling of there being an expressive, human element, one of personal feelings between people. This was probably most apparent in a duet between Chloe Leong and Davide Di Giovanni where an element of pleasure in the company of another seemed to pervade. This was made stronger by the music (Nick Wales), which seemed quite romantic at this point.

Chloe Leong and Davide Di Giovanni in ab [intra]. Sydney Dance Company, 2022. Photo: © Pedro Greig

Being closer also gave me a new feeling about the lighting (Damien Cooper). The darkness that enveloped those dancers who occasionally moved to the front of the stage and turned their backs to the audience achieved a strong contrast with dancers further upstage, a contrast that I didn’t notice to the same extent in 2018.

But as is characteristic of Bonachela’s work, the overriding element throughout the evening was the exceptional physicality of the dancers. They never cease to amaze with their ability to perform Bonachela’s demanding choreography with the utmost skill and dynamism. The first duet between Jacopo Grabar and Emily Seymour was virtuosic in the extreme and I was incredibly moved by Jesse Scales who performed (amongst other sections) the closing solo. And I always admire the way Bonachela uses groups, sometimes working in unison, sometimes breaking out from those moments only to return to a unified group again.

Jacopo Grabar and Emily Seymour in ab [intra]. Sydney Dance Company 2022. Photo: © Pedro Greig

It was a real pleasure to see ab [intra] again and to have the opportunity to see some sections and aspects of the production differently. In my review of the work in 2018 I remarked that I thought it was probably one of those ‘giving’ works. It clearly was so for me in 2022. The opening night performance was given a long and rowdy standing ovation.

Michelle Potter, 5 June 2022

Featured image: Jesse Scales in the closing section to ab [intra]. Sydney Dance Company, 2022. Photo: © Pedro Greig

Talking to Melanie Lane

My first encounter with the choreography of Melanie Lane was in 2019 when her work WOOF was part of a Sydney Dance Company triple bill called Bonachela/Nankivell/Lane. WOOF, which two years earlier had been a hit in Sydney Dance Company’s New Breed program, was for me the outstanding work on the 2019 triple bill. I had also seen Lane perform, along with Lilian Steiner, in Lucy Guerin’s SPLIT in 2018. But really I was way behind the times. Lane had already established herself as a choreographer and performer well before I had the chance to see her productions.

Lane was born in Sydney but grew up in Canberra and undertook intensive training with Janet Karin at the National Capital Ballet School. Lane recalls with pleasure and admiration the influence Karin had on her development and remembers in particular a program Karin staged in 1989 for the school’s National Capital Dancers. It featured newly choreographed works by Joe Scoglio (Midstream), Natalie Weir (The Host) and Paul Mercurio (A Moment of Choice). ‘Janet was so supportive of new choreography,’ Lane says. ‘I really got connected with contemporary movement as a result.’

After completing her school studies at Canberra’s Stirling College, Lane went to Perth to study at the Western Australian Academy of Performing Arts (WAAPA) from where she graduated with a Diploma of Performing Arts, and where she developed further her interest in contemporary dance and choreography. Between 2000 and 2014 she worked with a range of companies and in a range of cities and venues in Europe as both a performer and choreographer. Now Lane is back in Canberra and her newest work, Metal Park, will be performed by Quantum Leap, Canberra’s youth dance company, in a triple bill named Terra Firma.

After the opening in Vienna in April of The Trojan Women, a theatre piece directed by Australian Adena Jacobs with choreography by Lane, and following a brief stint in Heidelberg doing preliminary work on a dance theatre piece due to open next year, Lane arrived in Canberra just two weeks before Metal Park’s opening night. I wondered how she would go about teaching the new work, and preparing the dancers of Quantum Leap for the experience.

‘I began working with Quantum Leap on Metal Park, which is the first work I have created in Canberra, in January of this year,’ she says. ‘We had an intensive two and a half weeks of development time. It was a little challenging because of the pandemic, which was at a peak. We had dancers in lockdown, dancers zooming in and a number of other difficulties. Then I had to go back to Europe. But now I’m here and I am looking forward to getting back to work in person with the dancers. I find working with young people quite inspiring. There is something magical about the sense of imagination and creativity they have, and their level of enthusiasm and energy is thrilling.’

Quantum Leap dancers rehearsing Metal Park, 2022. Photo: © Lorna Sim

Metal Park is an extension of aspects of some of Lane’s earlier works in which she has examined links between the body and objects or props. ‘It’s about zooming in on everyday reactions we have with materiality,’ she explains, ‘and using those reactions to question how we relate to our environment. It is a way too of encouraging the dancers to work with materials—objects of various kinds— as part of their practice.’ Metal Park will be performed to a sound composition by Lane’s partner, Christopher Clark, and will have lighting by Mark Dyson.

We can look forward too to further work from Lane in Canberra. In June she will be appearing at the National Gallery of Australia with Jo Lloyd (details to be confirmed). Also in June the Brisbane-based Australasian Dance Collective will present her work Alterum at the Canberra Theatre Centre as part of a triple bill, Three. She will also shortly start preliminary work on a future production in collaboration with the Canberra Symphony Orchestra. Stay tuned.

Terra Firma, which will include works by Cadi McCarthy and Steve and Lilah Gow in addition to Lane’s Metal Park, is at the Playhouse, Canberra Theatre Centre, from 26 to 28 May 2022.

Michelle Potter, 15 May 2022

Featured image: Melanie Lane conducting a summer intensive for her new work Metal Park, 2022. Photo: © Lorna Sim

Dance diary. January 2022

  • West Australian Ballet

What a pleasure it is to be able to say that West Australian Ballet is turning 70 in 2022. It is the oldest ballet company in Australia and was founded in 1952 by the former Ballet Russes dancer Kira Abricossova Bousloff. The company gave its first performance in 1953 and turned professional when Rex Reid was appointed artistic director in 1969. Since then its directors have included Robyn Haig, Garth Welch, Barry Moreland, Ted Brandsen and Ivan Cavallari. It is currently directed by Aurélian Scanella who has now been at the helm of the company for ten years.

Unfortunately, Western Australia has very strict entry requirements at the moment and it is not an easy place to visit for those who live outside the State. The thought of missing certain parts of the 2022 program is hard to take. I am especially interested that the company is planning its own new production of Swan Lake in late 2022. It will be choreographed by Krzysztof Pastor, will have a distinct relationship to West Australian culture and society, and will incorporate Indigenous material into the production. While this Swan Lake promises to be unique, the focus on the culture of the West is also an exceptional way to honour Kira Bousloff whose early repertoire incorporated reflections on Australian life and culture.

  • La Nijnska. A new book by Lynn Garafola

Esteemed dance historian Lynn Garafola has recently completed a biography of Bronislava Nijinska. As the first in-depth account of the life and career of a dance artist about whom so little has been written, La Nijinska is a publication which we can anticipate with particular interest. The book is being published shortly by Oxford University Press, although its exact publication date seems to vary somewhat according to different sources. Details are on the OUP website.

And on an Australian note, Kira Bousloff, founder of West Australian Ballet as mentioned above, took classes with Nijinska and performed with her company. She talks about her experiences in an oral history conducted with her in 1990 for the National Library of Australia’s oral history program. The interview is online at this link.

  • BOLD Festival 2022

The much delayed BOLD Festival (originally planned for 2021) is going ahead in Canberra and online in March. See below for information from the BOLD team on the keynote addresses and the BOLD Lecture. Further information as it comes to hand.

We are thrilled to announce our three Keynote speakers and the 2022 BOLD Lecture. Talks will be in person and live-streamed on the 3rd and 4th March at the National Library of Australia. They will then be available online for 22 days.

Our opening Keynote is Eileen Kramer who, at 107 years of age, continues to create dances, stories, costumes and films, even in the midst of Covid lockdowns. Her tenacity and creativity shine through this difficult time.

In conversation with long time collaborator Sue Healey, Eileen will reveal ideas about longevity of practice and what drives her to keep creating.


ID; Woman with white hair and large earrings holds her newly published book

Our next Keynote is the extraordinary Gary Lang speaking from the heat of Darwin about his life as a Larrakia artist.I will speak of the unique way I, as an Artistic Director and choreographer, use multi cultural dancers to tell my people’s first nations stories on the local, National and International stage through my work with the NT Dance Company. Our work reflects the rich multicultural tapestry of the Territory and collaborates with leading dance companies including most recently, NAISDA Dance College, West Australian Ballet, Northumbria University UK and MIKU Performing Arts from East Arnhem Land.
ID; An indigenous man with silver hair, wearing glasses, white shirt, black trousers and turquoise wrap, sitting barefoot on a chair in a darkened theatre. Theatre lights glow dimly behind him and his left arm and leg are elegantly crossed as he looks directly at the camera. 

Our closing Keynote is Dr Michelle Potter who will discuss ‘The Revenger’s Tragedy’. Revenge tragedies always have a tragic outcome, but Melbourne Theatre Company’s 1975 production of the Jacobean play ‘The Revenger’s Tragedy’ had a surprising and very positive outcome for the future of dance in Australia.

The talk references Dr Potter’s stunning book Kristian Fredrikson; Designer as the designer of the production and acts as a soft launch for the National Library of Australia’On Stage exhibition opening that day, running until the 7th August 2022.


Kristian Fredrikson, costume design for The Duke in The Revenger’s Tragedy, 1975. National Library of Australia
ID; a water paint of a male character throwing his hands in the air wearing a black and white bold patterned cape with brown and dark blue lining, black and white patterned trousers, black boots, intricate chest piece detailed with brown and a high ruffled neck, Elizabethan style.

Our conference closes with the BOLD Lecture given in the memory and spirit of Scotland based Australian dance artist Janice Claxton. Janis worked internationally, she was a hugely talented choreographer, a tour-de-force and front-line fighter for equality in dance. The first BOLD Lecture was given by Claire Hicks, Director of Critical Path. This year we will be joined by Marc Brew, another Scotland based Australian choreographer working internationally. Most recently he was the Artistic Director of AXIS Dance Company, USA.

ID; A photo of a white male, slim build, 6′ 2″ tall, wheelchair user with a shaved head, green eyes and sculpted facial stubble, wearing a black at cap, black jumper and a black & grey scarf around his neck. Poised in front of a grey background. Photo credit; Maurice RamirezMarc is a Disabled choreographer, director and dancer. His lecture titled ‘Point of the Spear’ will share his personal experience of the importance of being an advocate for accessibility and inclusion. How, collectively, we all need to work together to be Inclusive in our thinking and actions to make the world equitable for all.

On a final note applications for The Annie are coming in which is brilliant. Do keep sharing the word so we can support an artist to create work on older dancers with Annie’s inimitable spirit chivvying us on.



Next up we will announce our workshop series which will be offered over the 5 days of the Festival. We have 15 workshops being offered in person in Canberra and on Zoom from around Australia, LA, Canada, Singapore and the US. Be fabulous
Stay Bold
best wishes

The BOLD Team
 
  • New appointments

A range of departures and new appointments to dance and dance-related organisations was announced over the past month or two. In Australia they include the departure after close to twelve years of Anne Dunn from Sydney Dance Company to take on the role of Executive Director and Co-Chief Executive Officer of Sydney Theatre Company. Lou Oppenheim will take on the role of CEO of Sydney Dance Company in mid-February.

Elsewhere in the world they include the appointment of Tamara Rojo as Artistic Director of San Francisco Ballet. Rojo leaves English National Ballet in late 2022 to become the first female director of SFB. She replaces Helgi Tomasson.

Michelle Potter, 31 January 2022

Featured image: Dayana Hardy Acuna in a publicity shot for West Australian Ballet’s 2022 Swan Lake. Photo: © Finlay Mackay and Wunderman Thompson

Daniel Riley. Australian Dance Theatre’s incoming artistic director

The dance world is agog with the news that Daniel Riley is to take over the directorship of Australia’s longest standing contemporary dance company, Australian Dance Theatre, when Garry Stewart retires from the role at the end of 2021. Riley traces his bloodline to the Wiradjuri clan of Western New South Wales, particularly around Wellington and Dubbo. As such he is the first Indigenous director of Australian Dance Theatre (ADT).

But, as Riley told a Dubbo-based journalist in 2014, he did not grow up ‘on country’ but in Canberra. He went to Telopea Park High School and Canberra College and he began dance classes with Jacqui Hallahan at the then Canberra Dance Development Centre.

A fact barely mentioned in the stories that have so far surrounded Riley’s appointment is that he is in fact an alumnus of QL2 Dance, Canberra’s youth dance organisation—a place were the nurturing of future dance artists is of prime importance. One of QL2’s current patrons is the artistic director of Sydney Dance Company, Rafael Bonachela, and he recognised QL2’s impact on dance in Australia when, following his acceptance of the role of patron, he said:

I have worked with many artists that have passed through [QL2’s] doors and commend them all on their professionalism, technique and creativity. The training and performance platform that QL2 offer[s] to youth dancers and emerging artists in Australia is of the highest standard.

Riley joined QL2 in 1999. It happened as the result of a suggestion from Elizabeth Dalman, artistic director of ADT from 1965-1975, and her colleague Vivienne Rogis, both of whom had worked on a project with Riley’s father in the 1990s. In 1999 QL2 had just started up and Riley performed in the very early productions, Rough Cuts and On the Shoulders of Giants. He then danced in every QL2 project from 1999 to 2003 before taking up a degree course at QUT in 2004. While undertaking his degree he returned whenever possible to Canberra and worked as a choreographer for various QL2 projects, which he has continued to do throughout his professional career to date.

Daniel Riley rehearsing QL2 dancers for the Hit the Floor Together program, 2013.

His commissioned work Where we gather, made in 2013 for the QL2 program Hit the Floor Together, explored the idea of young people from Indigenous and non-Indigenous backgrounds working together. In performance 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 was remounted in 2018 as part of QL2’s 20th anniversary, Two Zero.

Most recently Riley was back at QL2 in January 2021 on a residency where he continued work on an independent project still in the planning stage.

Daniel Riley during a QL2 residency, Gorman Arts Centre, Canberra, 2021. Photo: © Lorna Sim

But of course his work as a professional dancer and choreographer with Bangarra Dance Theatre, which he joined 2007 after graduating from QUT, as well as his his work with Leigh Warren and Dancers, Sydney Dance Company, Chunky Move, and companies overseas, including Michael Keegan-Dolan’s Fabulous Beast (now Teac Damsa), have opened up new horizons.

I have strong memories of the first work he choreographed for Bangarra in 2010. Called Riley, it was a celebration of the photography of a cousin, Michael Riley. What was especially impressive was the way in which Riley’s choreography looked quite abstract and yet also managed to link back to the photographs, which were projected during the work. Then, I cannot forget the strength of his performance as Governor Macquarie in Jasmin Sheppard’s Macq, and also his role as Governor Philip in Stephen Page’s Bennelong, both productions for Bangarra.

Beau Dean Riley Smith and Daniel Riley in a scene from 'Macq'. Bangarra Dance Theatre, 2016
Daniel Riley (on the table) as Governor Macquarie with Beau Dean Riley Smith in Macq. Bangarra Dance Theatre, 2016. Photo: © Greg Barrett

I also was interested in Reign, a work he made for Sydney Dance Company’s New Breed season in 2015.

The four New Breed 2015 choreographers . Photo: Peter Greig
Daniel Riley (front right) with Fiona Jopp, Kristina Chan, and Bernhard Knauer in a media image for Sydney Dance Company’s New Breed, 2015. Photo: © Peter Greig

Reign examined the idea of women in power and the forces that often end their reign. Choreographically it seemed to have strong Indigenous overtones. It began with Janessa Dufty covering her limbs with sand from a pile in a downstage corner of the performing space. It recalled an early section of Bangarra’s production of Ochres when a dancer uses yellow ochre in a similar fashion. Much of the movement, which was organic in look and usually quite grounded, also seemed Bangarra-inspired. And yet the theme seemed quite Western to me and I struggled to reconcile the movement with the theme. Later I began to wonder whether it mattered what vocabulary was used for what theme and was impressed and moved by the strength and very clear structure of the work.

So what will Riley bring to Australian Dance Theatre? Looking at the way he has worked over the years with QL2, he will bring I am sure the same integrity and respect for his colleagues that has brought him back over and over again to the organisation that developed his skills, gave him an understanding of a collaborative manner of working, and that realised that a future in dance lay before him. Thinking of the way he dances, always inhabiting a role with strength and understanding, I suspect he will be an excellent coach for the dancers in the company. And considering, on the one hand, the themes he has chosen for his choreographed works, which so often examine the diverse social and cultural roles of the people around him, and, on the other hand, the way his choreographed works have all been so clearly and strongly structured, I feel he will bring a huge strength of purpose to ADT.

But no one could put it better than Elizabeth Dalman, founding artistic director of ADT. She has said:

He is a wonderful performer, a talented choreographer and already has a great vision for the company. ADT has a long tradition as a revolutionary company pushing boundaries and presenting innovative and exciting works. Daniel plans to champion diversity and develop the company’s cross- and inter-cultural potentials. From the very beginning we set out to be a company exploring our Australian identity, our Australian artistic expression and cultural diversity, so I feel this is a strong continuation of the original aims of the company.

Michelle Potter, 10 June 2021

Featured image: Promotional image for Australian Dance Theatre’s appointment of Daniel Riley as artistic director.

Emily Seymour, Jacopo Grabar, and Rhys Kosakowski in 'Impermanence'. Sydney Dance Company and the Australian String Quartet, 2021. Photo: © Pedro Greig

Impermanence. Sydney Dance Company

17 February 2021. Roslyn Packer Theatre, Walsh Bay

A year ago Sydney Dance Company was just days away from its first program for 2020, which was to include a new work, Impermanence, by Rafael Bonachela as part of a mixed bill program. But the pandemic struck and the program was cancelled. Impermanence was being created to a score co-commissioned by Sydney Dance Company and the Australian String Quartet from Bryce Dessner, an American composer based in Paris. The work was initially inspired by the fire that almost destroyed Notre Dame Cathedral in Paris in 2019, and by the Australian bush fires that began in late 2019. After the program was cancelled Bonachela and Dessner decided to continue their collaboration and develop the work into a full length one. This is the show that opened on 17 February 2021.

Dancers of Sydney Dance company with the Australian String Quartet in 'Impermanence', 2021. Photo: © Pedro Greig
Dancers of Sydney Dance Company with the Australian String Quartet in Impermanence, 2021. Photo: © Pedro Greig

Publicity tells us that the work is about transience and fragility, but Dessner’s powerful, driving score, played onstage by the Australian String Quartet seated in an upstage corner, felt to me more like determination to overcome. Similarly, for the most part Bonachela’s choreography was fast-paced, dramatic and powerful and with Damien Cooper’s moody lighting design, with constantly changing colour effects strongly apparent, I found it hard to see the impermanence of it all.

But this is not to say that the work was not engaging. It was. I love watching Bonachela’s amazing ability to show us the unexpected in movement. I love those moments when he has the whole company onstage when we can see unison. Sometimes he has the entire company dancing as one, at other times two groups show us two separate, but still compelling instances of choreographic unison. And having live music played onstage is always something to look forward to, and something on which Bonachela seems to thrive.

As ever, all the dancers performed with their usual and incredible technical skills. But two stood out for me. I couldn’t stop looking at Emily Seymour whose strong balletic background was so clear. Her turns were spectacular and were, although in contemporary mode, perfectly placed and finished. Her truly beautiful rounded arms and smooth line through the body were just breathtaking. Then Jesse Scales looked as though they were so thrilled to be back on stage. Even when standing at the side of stage waiting for their next move their body glowed with pleasure. And Scales used every part of their body to give shape and meaning to the choreography.

Jesse Scales (above), Luke Hayward and Liam Green in Impermanence. Sydney Dance Company, 2021. Photo: © Pedro Greig

The Roslyn Packer Theatre had its COVID plan in place for Impermanence. We checked in with our phones and QR code, there was no mingling in the foyer, we were distanced (slightly) from other audience members, and we were masked-up for the entire show. But what a thrill it was to be back in a live environment watching the kind of spectacular performance we have come to expect from Sydney Dance Company. Jesse Scales said it all with their exceptionally detailed movement and their obvious pleasure in performing for an audience again.

Michelle Potter, 22 February 2021

Featured image: Emily Seymour, Jacopo Grabar, and Rhys Kosakowski in Impermanence. Sydney Dance Company and the Australian String Quartet, 2021. Photo: © Pedro Greig

Emily Seymour, Jacopo Grabar, and Rhys Kosakowski in 'Impermanence'. Sydney Dance Company and the Australian String Quartet, 2021. Photo: © Pedro Greig

NOTE: The personal pronouns used in this review are those given for use by Sydney Dance Company.

Charmene Yap in a still from Cuatro 1. Sydney Dance Company, 2020

Cuatro. Sydney Dance Company Digital Season 2020

Rafael Bonachela is fond of giving his works Spanish names (he is after all a Spaniard by birth). Cuatro is Spanish for ‘four’ and Bonachela’s work entitled Cuatro consisted of four short solos for four artists of Sydney Dance Company. Each separate dance was accompanied by music played by a solo musician from the Sydney Symphony Orchestra. Much of the creative development was conducted online with the final four outcomes filmed in isolation at the Sydney Dance Company studios in Ultimo.

Each dance was performed in a different space, beautifully designed and lit by Pedro Greig. Greig was also the film-maker. Each dancer wore a variation on a soft, flowing costume designed by Bianca Spender. The fabric colours ranged from very light grey through soft blue to golden yellow and each had some variation on a rolled and twisted design element, usually a part of the costume that crossed the shoulder.

Cuatro 1 was danced by Charmene Yap to an oboe accompaniment played by Diana Doherty. It took place in a confined space of three white walls.

Cuatro 2 featured Davide Di Giovanni performing to a violin accompaniment played by Andrew Haveron. The background this time was less confined with a draped back wall giving a softer look.

Cuatro 3 showed us Juliette Barton dancing to an accompaniment from Umberto Clerici on cello. Barton and Clerici performed in a black performing space that had three panels, made of what looked like small tiles, on each side of the space. The panels were lit with an exquisite golden glow, and often we saw dancer and cellist in shadow.

Juliette Barton in a still from Cuatro 3. Sydney Dance Company, 2020

Cuatro 4 was performed by Chloe Leong with Emma Sholl playing flute. By the time we reached this fourth dance all walls had disappeared and Leong danced in a fine white mist that spread itself widely.

Choreography for all four solos was by Bonachela and each dancer showed his or her astonishing command of Bonachela’s movement style. This time I felt his choreography was slower and more liquid than usual and its qualities of introspection were deeply moving.

I began thinking of, and watching this series of solos as individual works. Each was released separately with a week between each. Eventually, I stopped watching this way and decided to wait until all four had been screened so I could watch the four in one viewing. I’m glad I did this because I’m not sure I would have had the same reaction had I just watched each a week apart.

I did have a favourite solo—that of Barton accompanied by Clerici. The filming was exceptional with its shadows and close-up shots. Barton was technically brilliant and I loved the way Clerici played his cello with his whole body and seemed completely lost in the sound. But what was wonderful about watching the four dances as if they were one work was that, for me anyway, an emotional underpinning emerged. The work began in that enclosed space with Yap sometimes touching the walls as if to highlight an inability to extract herself from the space. It moved to the possibility of emerging with the softer backcloth against which Di Giovanni performed. By Cuatro 3 the blackness of despair was there but the glorious lighting promised hope. By Cuatro 4 we had reached freedom.

Bonachela has always said his works can mean whatever we want them to mean. I love that. Beautiful work from the whole team

Michelle Potter, 20 August 2020

Featured image: Charmene Yap in a still from Cuatro 1. Sydney Dance Company, 2020

Charmene Yap in a still from ‘Cuatro’ no. 1

Andrew Killian and Dimity Azoury in 'Aurum'. The Australian Ballet, 2019. Photo: © Daniel Boud

Dance diary. January 2020

Alice Topp’s Aurum

Aurum, choreographed by Alice Topp, a resident choreographer with the Australian Ballet, was first seen in Melbourne in 2018. It was followed by a 2019 season in Sydney, a scene from which is the featured image for this post. Also in 2019 it had a showing in New York at the Joyce Theater. In fact the Joyce was in part responsible for the creation of Aurum. Aurum was enabled with the support of a Rudolf Nureyev Prize for New Dance, awarded by the Joyce. Major funding came from the Rudolf Nureyev Dance Foundation. Aurum went on to win a Helpmann Award in 2019.

Now Topp will stage her work for Royal New Zealand Ballet as part of that company’s Venus Rising program opening in May 2020. She has recently been rehearsing the work in RNZB studios in Wellington.

Madeleine Graham and Allister Madin in rehearsal for Alice Topp's 'Aurum'. Royal New Zealand Ballet, 2020. Photo: © Jeremy Brick
Madeleine Graham and Allister Madin in rehearsal for Alice Topp’s Aurum. Royal New Zealand Ballet, 2020. Photo: © Jeremy Brick

I can still feel the excitement of seeing Aurum for the first time in 2018 when it was part of the Australian Ballet’s Verve program. My review from that season is at this link.

Dance Australia critics’ survey

Below are my choices in the annual Dance Australia critics’ survey. See the February/March 2020 issue of Dance Australia for the choices made by other critics across Australia. The survey is always interesting reading.

  • Highlight of the year
    West Side Story’s return to Australian stages looking as fabulous as it did back in the 1960s. A true dance musical in which choreographer Jerome Robbins tells the story brilliantly through dance and gesture.
  • Most significant dance event
    Sydney Dance Company’s 50th anniversary. Those who have led, and are leading the company—Suzanne Musitz, Jaap Flier, Graeme Murphy and Janet Vernon, and currently Rafael Bonachela—have given Australian audiences a varied contemporary repertoire with exposure to the work of some remarkable Australian choreographers and composers, as well as the work of some of the best contemporary artists from overseas.
  • Most interesting Australian independent group or artist
    Canberra’s Australian Dance Party, which has started to develop a strong presence and unique style and has given Canberra a much needed local, professional company. The 2019 production From the vault showed the company’s strong collaborative aesthetic with an exceptional live soundscape and lighting to add to the work’s appeal.
  • Most interesting Australian group or artist
    Bangarra Dance Theatre. Over thirty years the company has gone from strength to strength and can only be admired for the way in which Stephen Page and his associates tell Indigenous stories with such pride and passion.
Beau Dean Riley Smith (centre) as Bennelong, Bangarra Dance Theatre 2017. Photo: Vishal Pandey
Beau Dean Riley Smith (centre) as Bennelong in Bennelong, Bangarra Dance Theatre, 2017. Photo: © Vishal Pandey
  • Most outstanding choreography
    Melanie Lane’s thrilling but somewhat eccentric WOOF as restaged by Sydney Dance Company. It was relentless in its exploration of group behaviour and reminded me a little of a modern day Rite of Spring
Scene from Melanie Lane's 'WOOF'. Sydney Dance Company, 2019. Photo: © Pedro Greig
Scene from Melanie Lane’s WOOF. Sydney Dance Company, 2019. Photo: © Pedro Greig
  • Best new work
    Dangerous Liaisons by Liam Scarlett for Queensland Ballet. Scarlett has an innate ability to compress detail without losing the basic elements of the narrative and to capture mood and character through movement. It was beautifully performed by Queensland Ballet and demonstrated excellence in its collaborative elements.
  • Most outstanding dancer(s)
    Kohei Iwamato from Queensland Ballet especially for his dancing in Dangerous Liaisons as Azolan, valet to the Vicomte de Valmont. His dancing was light, fluid, and technically exact and he made every nuance of Scarlett’s choreography clearly visible

    Tyrel Dulvarie in Bangarra’s revival of Unaipon in which he danced the role of David Unaipon. His presence on stage was imposing throughout and his technical ability shone, especially in the section where he danced as Tolkami (the West Wind).
  • Dancer(s) to watch
    Ryan Stone, dancer with Alison Plevey’s Canberra-based Australian Dance Party (ADP). His performance in ADP’s From the vault was exceptional for its fluidity and use of space and gained him a Dance Award from the Canberra Critics’ Circle.

    Yuumi Yamada of the Australian Ballet whose dancing in Stephen Baynes Constant Variants and as the Daughter in Stanton Welch’s Sylvia showed her as an enticing dancer with much to offer as she develops further.
  • Boos!
    The Australian Government’s apparent disinterest in the arts and in the country’s collecting institutions. The removal of funding for Ausdance National, for example, resulted in the cancellation of the Australian Dance Awards, while the efficiency dividend placed on collecting institutions, which has been in place for years now, means that items that tell of our dance history lie unprocessed and uncatalogued, and hence are unusable by the public for years.
  • Standing ovation
    I’m standing up and cheering for the incredible variety of dance that goes on beyond our major ballet and contemporary companies. Youth dance, community dance, dance for well-being, dance for older people, and more. It is indicative of the power that dance has to develop creativity, health and welfare, and a whole range of social issues.
Scene from Eye to Eye in On course. QL2 Dance, 2019. Photo: © Andrew Sikorski/Art Atelier

New oral history recordings

In January I had the pleasure of recording two new oral history interviews for the National Library of Australia’s oral history program. The first was with Chrissa Keramidas, former dancer with the Australian Ballet, American Ballet Theatre and Sydney Dance Company. Keramidas recently returned as a guest artist in the Australian Ballet’s recent revival of Nutcracker. The story of Clara. The second was with Emeritus Professor Susan Street, AO, dance educator over many years including with Queensland University of Technology and the Hong Kong Academy of Performing Arts.

News from James Batchelor

James Batchelor’s Redshift, originally commissioned by Chunky Move in 2017, will have another showing in Paris in February as part of the Artdanthé Festival. Redshift is another work emerging from Batchelor’s research following his taking part in an expedition to Heard and McDonald Islands in the sub-Antarctic in 2016. Artdanthé takes place at the Théâtre de Vanves and Batchelor’s works have been shown there on previous occasions.

Study for Redshift. Photo: © Morgan Hickinbotham

Batchelor is also about to start work on a new piece, Cosmic Ballroom, which will premiere in December 2020 at another international festival, December Dance, in Bruges, Belgium. Below are some of Batchelor’s thoughts about this new work.

Set in a 19th Century Ballroom in Belgium, Cosmic Ballroom will playfully reimagine social dances and the aesthetic relationship they have to the space and time they exist within. We will work with movement as a plastic and expressive language that is formed through social encounters: the passing of thoughts, feelings and uncertainties from body to body. It will ponder the public and private and the personal and interpersonal as tonal zones that radiate and contaminate. How might movement be like a virus in this context? How might space-times be playfully spilling across and infecting one another from the baroque ballroom to the post-industrial club space?

Batchelor will collaborate with an team of Australian, Italian and UK artists on this work.

Liam Scarlett

Not such good news

Michelle Potter, 31 January 2020

Featured image: Andrew Killian and Dimity Azoury in Aurum. The Australian Ballet, 2019. Photo: © Daniel Boud

Andrew Killian and Dimity Azoury in 'Aurum'. The Australian Ballet, 2019. Photo: © Daniel Boud

New Breed (2019). Sydney Dance Company

7 December 2019. Carriageworks, Eveleigh (Sydney)

If there’s one thing that the 2019 New Breed program does, it is to expose the difficulties that go with creating a choreographic work. For me a choreographic work has to have some cohesion as it moves from beginning to end, and it needs to give us, the audience, something to ponder on, dream about, be moved by, or at least have something that is understandable for us in some way. It doesn’t necessarily have to mean to us what the choreographer says it is about, but it has to have something we can latch on to. The 2019 New Breed was a little uneven in achieving the above but there certainly were some outstanding aspects to the program. Choreographers, emerging in some cases, who created works for this program were Davide di Giovanni with In walked Bud, Arise from Ariella Casu, Creeper by Lauren Langlois, and Zero choreographed by Josh Mu.

  • Outstanding dancer

As we have come to expect from the artists of Sydney Dance Company, every dancer who performed in New Breed gave an amazing performance. But it was Chloe Leong who stood out. From the moment she stepped onstage in In walked Bud, the opening work, her precision of movement and her commanding presence in the performing space brought an instant smile to my face and made me look forward to the rest of the program. Leong also danced in Creeper and Zero and was equally as exciting to watch in these pieces.

Chloe Leong in a moment from In walked Bud. New Breed 2019. Photo: © Pedro Greig
  • Best choreography

Josh Mu created the most interesting choreography of the program with his work, Zero. It had that ongoing cohesion as one movement or group of movements led beautifully to the next. For me, the idea of our connectivity with other human beings kept springing to mind. Whether this related to ‘hypotheses of dystopian futures’, which was mentioned in the program notes, was immaterial and I felt a certain satisfaction as the work progressed. I loved the role the women’s hair played as they swished and tossed their heads around as part of the choreography. Why not? Dance is made on the body and hair belongs to the body!

Scene from Zero. New Breed 2019. Photo: © Pedro Greig
  • Best musical score

Zero was accompanied by a pounding, relentless score from Huey Benjamin, which was very nicely attuned to the movement.

  • Best costume design

On the whole the costumes were quite drab and uninviting to look at, except for Guy Hastie’s outfits for the two female dancers (Chloe Leong and Holly Doyle) in In walked Bud. They were sophisticated, beautifully cut to reveal shoulders, upper arms and back, and had a wonderful touch of orange colour that, in the way a small piece of orange fabric was cut and inserted, added a softness to the overall costume. They were elegant and suited so well the jazz theme (and music by Theolonius Monk). It’s a shame the costume for the sole male in the piece, Luke Hayward, was so ordinary (white sleeveless T-shirt and black tights/pants). But then perhaps he was the Bud of the title who walked in on the jazz concert? In one version of the occasion that inspired Monk’s music, Bud was a little disorderly.

Chloe Leong and Holly Doyle in In walked Bud. New Breed 2019. Photo: © Pedro Greig

Michelle Potter, 9 December 2019

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.

Featured image: Scene from In walked Bud. New Breed 2019. Photo: © Pedro Greig
Sheree da Costa in Us 50, Sydney Dance Company 2019. Photo: ©Pedro Greig

Bonachela/Obarzanek. Sydney Dance Company

2 November 2019, Roslyn Packer Theatre, Sydney

Sydney Dance Company’s second program for 2019, the fiftieth year of existence, began with a short film. Excerpts from the SDC repertoire during the years it was led by Graeme Murphy and Janet Vernon reminded us of the versatility of the productions during those years when strong narrative works alternated with beautifully abstract productions. These film excerpts, put together by Philippe Charluet, were followed by clips, from the work of Pedro Greig, focusing on the ten years from 2009 during which the company has been led by Rafael Bonachela. Bonachela’s works have never been narrative in nature, but have focused largely on ideas that evoke emotional responses in the audience. But in both eras the choreography has been remarkable and the dancers have been exceptional. Those of us who have been privileged to have watched both eras have been unbelievably lucky.

The live part of the program opened with a revival of Bonachela’s 6 Breaths, first seen in 2010. This collaboration with Italian composer Ezio Bosso begins and ends with some breathtaking videography from Tim Richardson. In the beginning flecks of white swirl through the air before morphing into one and then two human figures, while at the end of the work the reverse happens—first breath and last breath. In between, a series of movements (six in all) introduce us to various human emotions. At times I felt my hands clenching, at other times I relaxed. A duet between two men had my emotions wavering, the moments of unison had me dancing along (in my mind that is). Such is Bonachela’s ability to use dance to evoke an emotional response. And of course I continue to be surprised at the extraordinary choreographic framework that he uses to create these feelings.

Riley Fitzgerald and Dimitri Kleioris in 6 Breaths. Sydney Dance Company, 2019. Photo: © Don Arnold
6 Breaths, Sydney Dance Company 2019. Photo: © Don Arnold
6 Breaths, Sydney Dance Company 2019. Photo: © Don Arnold

After interval came Gideon Obarzanek’s Us 50. In this work, which involved SDC alumni from the Murphy/Vernon era and a number of audience members, Obarzanek examined concepts about dance creation, especially how movement is passed on from body to body. There was plenty of interaction between the three groups of performers and, remarkably, the audience members, who wore headphones and had no rehearsal prior to coming on stage from the auditorium, were directed from the wings by Charmene Yap as assistant choreographer.

Wakako Asano with Chloe Leong and Janessa Duffty in Us 50. Sydney Dance Company 2019. Photo: © Pedro Greig
SDC alumna Wakako Asano (centre) with Chloe Leong (right) and Janessa Dufty (left) in Us 50. Performers from the audience in the background. Sydney Dance Company 2019. Photo: © Pedro Greig
SDC alumni Kip Gamblin (centre) Wakako Asano (left) and Bradley Chatfield (right) with current SDC dancers in Us 50. Sydney Dance Company, 2019. Photo: © Pedro Greig

By the end the three groups had become as one and, while the closing movements and groupings were of necessity quite simple, perhaps over-simplified, the point was made. Across 50 years of dance making, a strong legacy, a proud heritage, and the memories of audiences (represented by the audience members taking part in Us 50) are an essential part of the remarkable organisation that is Sydney Dance Company.

And, as before with the film footage, how privileged were we, who had watched the repertoire of the Murphy/Vernon period, to see the alumni from that time return to show us what amazing artists they still are. Sheree da Costa, glowing with beauty and still with that incredible ability to embrace any movement she is given, opened Us 50 with a short solo. As for other alumni, I wrote about Wakako Asano in 2005 after seeing Grand, ‘Wakako Asano is now such a mature artist gliding from movement to movement and opening and closing the work with mysterious grace.’ It’s still there that mysterious quality. Then, writing about New Blood in 1999, I said of Bradley Chatfield, ‘…his sense of presence on stage … rivals that of any dancer in Australia.’ That presence is also still there. And so with all the other alumni who appeared in Us 50—Kathryn Dunn, Linda Ridgeway, Lea Francis, Stefan Karlsson, Bill Pengelly, Nina Veretennikova, with Simon Turner as stage manager. What a treat.

Michelle Potter, 4 November 2019

Featured image: Sheree da Costa in Us 50, Sydney Dance Company, 2019. Photo: © Pedro Greig

Sheree da Costa in Us 50, Sydney Dance Company 2019. Photo: Pedro Greig