15 April 2017, Joan Sutherland Theatre, Sydney Opera House
It was a treat to see Tim Harbour’s Squander and Glory for a second time. This time I had the pleasure of seeing Vivienne Wong and Kevin Jackson dancing major parts, along with Jill Ogai and Jake Mangakahia, all of whom used their technical expertise to enhance Harbour’s choreography.
I was once again transfixed by the seamless quality of the collaboration and I enjoyed in particular watching the changing coloured light that played over Kelvin Ho’s design—it gently moved from russet-orange to silver to blue—which I hadn’t noticed to the same extent on my first viewing.
This time I was also fascinated by the tiny choreographic details that Harbour used throughout—the changing relationship between the wrist and hand, for example. The wrist demanded that the hand sometimes stretch, sometimes drop, sometimes lift. Every part of the body had a defined role to play in Squander and Glory. What can the body do? Every part of the body is significant.
I hope Squander and Glory remains in the repertoire. It is a work that will continue to reveal, I feel sure, more moments to delight the eye with every new viewing.
Looking at Wayne McGregor’s Infra for the second time I admired the dancing of Cristiano Martino, especially in a solo section where his very fluid body was quite mesmerising, and Dimity Azoury’s work in the final pas de deux (and apologies to her equally admirable partner as I am not sure who he was).
10 April 2017, Joan Sutherland Theatre, Sydney Opera House
The Australian Ballet’s latest program of three contemporary ballets is, artistically speaking, a very mixed bill. It certainly shows off the physical skills of company dancers, but choreographically it has its highs and lows.
The program opened with Faster, a work by British choreographer David Bintley, which he made initially for the London 2012 Olympic Games. It may have been an interesting work for that occasion, but I just can’t understand why it was thought worthy of reviving for repertoire. Although dancers have physical skills that are certainly athletic, in my book dancers are artists not athletes. There was nothing in the Bintley work that allowed the dancers to show their artistry. They seemed to run around the stage a lot, occasionally with a jump here, or a twist there. They pretended they were fencing, shooting a ball through a hoop, engaging in high jumps and other aerial sports, and so on. Sometimes they feigned injury, or despair, or something. But really I would rather watch professional athletes engaging in sporting activities rather than dancers pretending. Faster was a very lightweight work and not my idea of what I want to see from the Australian Ballet (or any ballet company for that matter).
The highlight of the evening was Tim Harbour’s fabulous new work, Squander and Glory. Choreographically it explores not so much how the body moves through space—although that happens—but how the body can fill the space around it. Sometimes there were some quite beautiful classical lines to observe, along with large groups of bodies gathered close together and moving across the stage. But at other times that classical look and ordered arrangement collapsed and we could see something more akin to a heap of bodies making shapes, lines and swirls of infinite and fascinating variety. (And I’m using ‘heap’ here in a positive sense rather than suggesting it was a mess).
But not only was Squander and Glory thrilling, and surprising, to watch from a choreographic point of view, it was also a wonderful example a how the collaborative elements can add so much to the overall feel and look of a work. I have long admired Benjamin Cisterne’s powerful and courageous vision for what lighting can contribute to a work, and that vision was absolutely evident in Squander and Glory. His use of a mirrored cloth in the work doubled our view of the number of dancers appearing on stage, and allowed us to see the choreography from two different angles. It brought an extra layer of excitement to the work, and I was amazed and delighted that those mirror images didn’t detract from the work, as so often happens when film clips or projections of some kind are introduced into a dance piece.
Then there was Kelvin Ho’s towering structure in the background, which reminded me of part of a Frank Gehry building, or a cone-like sculpture similar to those made by Australian sculptor Bert Flugelman. But it also had a kind of mystery associated with it. Logically it had to be a projection but its presence was so powerful, without dominating the choreography or Cisterne’s design, that I had to wonder where it was physically located. It was a brilliant addition to a seamlessly beautiful collaboration, which to my mind was enhanced by the relentless sound of Michael Gordon’s score, Weather One.
The program closed with Wayne McGregor’s 2008 work, Infra. I am a McGregor fan for sure, but I found Infra underwhelming after Squander and Glory. The work emerged from McGregor’s thoughts about human intimacy and its varied manifestations. But the expression of these ideas seemed dry and even sterile after the lusciousness and heart-stopping excitement of Squander and Glory. Set design by Julian Opie was a parade of faceless people, drawn as black outlines, hurrying across an LED screen above the stage. But it simply added to that feeling of sterility. Even Lucy Carter’s lighting, which has in the past been absolutely amazing (most recently in Woolf Works), didn’t excite.
Bouquets to the team who created Squander and Glory. It was a truly remarkable new work and certainly made my night at the ballet worthwhile. I look forward to a second viewing.
11 February 2017, Royal Opera House, Covent Garden
The printed program for Wayne McGregor’s Woolf Works gives the piece a subtitle: A Triptych. It is a perfect subtitle since Woolf Works consists of three separate pieces but, like a religious triptych, each separate part tells us something about an overall subject. In the case of Woolf Works this overall subject concerns the innovative, poetic writing of the early twentieth century novelist Virginia Woolf. And the work begins with the voice of Virginia Woolf talking about language in a recording made for the BBC in 1937. Her talk was called ‘On craftsmanship’ and, as she speaks, writing (hers presumably) appears in white on a black front screen. As her voice continues, the writing transforms itself into various white shapes. The lighting changes and the screen lifts. The first section begins.
Although the informative program, innovative in concept and design, never seeks to say what Woolf Works is ‘about’, for me McGregor brilliantly distills each of the Woolf novels he has chosen to work with into certain intrinsic elements. The first movement, I now, I then, inspired by the novel Mrs Dalloway, shows us the changing nature of relationships across a lifetime, even though the novel takes place in just one day. The second section, based on Orlando and called Becomings, examines the trajectory of the universe across time, just as Orlando takes place over several centuries. It might be called a study in time travel and has something approaching science fiction as an intrinsic element. The third section, Tuesday, is inspired by The Waves andseeks to show us the concept of inevitability.
Of the three sections I now, I then seems to me to be the strongest. If you know the novel, you will recognise the main characters of Clarissa Dalloway; Jenny Seton, the close friend whom Clarissa famously kisses; Peter Walsh, the man Clarissa didn’t marry, perhaps to her ongoing regret; and Septimus Warren Smith, the shell-shocked former soldier who eventually commits suicide, never being able to overcome his thoughts about the death of a soldier friend in World War I. But such knowledge isn’t entirely necessary as I now, I then stands on its own as a work about relationships of many and varied kinds.
In I now, I then, Alessandra Ferri plays a meditative, slightly distant Clarissa, lost in her thoughts. It was a pleasure to see her back onstage. In another cast, however, I saw Mara Galeazzi in the role and I preferred her performance. She seemed more emotionally involved in the role and, without wishing to detract from Ferri’s strong technical performance, I admired the way Galeazzi was able to embody the choreography, giving it quite beautiful shape and fluidity. The various pas de deux between Clarissa and the two men in her life (played by Federico Bonelli and Gary Avis in one cast and Ryoichi Hirano and Tomas Mock in the other) were highlights in both casts.
Clarissa as a younger woman and Jenny her friend, played by Beatriz Stix-Brunell and Francesca Hayward (and in the other cast Yasmine Naghdi and Mayara Magri), had some gorgeous choreography, sometimes performed in unison, often fast and joyous, and always full of the pleasures of youth and friendship. They engaged too with Peter, Clarissa’s early love interest, while the older Clarissa stood thoughtfully in the background. Again pleasure in relating to others was at the heart of the choreography.
Another exceptionally powerful performance came from Edward Watson as Septimus, whose problematic mental state was made clear as he executed the writhing, twisted choreography.
Strong visual elements in the form of film footage (film designer Ravi Deepres) washed across the performing space and over the set, which consisted of the perimeters of three large, wooden, movable square structures. The footage showed London scenes from the 1920s and, sometimes, the garden of Virginia Woolf’s home and, with Max Richter’s score occasionally interrupted by the sound of Big Ben chiming, the setting was an evocative one.
Becomings was distinguished by some astonishing lighting effects from Lucy Carter. Although her work is an important and quite beautiful element in all three sections, in Becomings it is nothing short of sensational—as innovative as anything Woolf wrote. It sometimes divides the stage space, other times it beams out into the space of the auditorium. It colours the space, and darkens it too, and laser beams occasionally shoot across the stage.
Among this spectacular light (and darkness as the stage is often submerged in near blackness), dancers appear, clad in an assortment of black and gold costumes that range from Elizabethan garb—Eric Underwood at times wears an Elizabethan-style dress that would have delighted Queen Elizabeth I—to contemporary attire (costume design Moritz Junge). There is some spectacular dancing. Legs stretch and extend in seemingly impossible ways and partnering sometimes takes the breath away. Natalia Osipova and Steven McRae stand out, especially in an early pas de deux where the gender of Orlando is explored (perhaps?). Both also stand out elsewhere in this second section, as does Sarah Lamb who always looks good executing McGregor’s flashy, super-extended style.
Despite the dancing and the mesmerising lighting display, Becomings did not have the same attraction for me as I now, I then. It was harder to feel where Woolf fitted in for one thing, even given the emphasis at times on gender issues, which Woolf explores in Orlando. But then perhaps the link is that Woolf was always experimenting, exploring, finding innovative ways to use language, as McGregor and his collaborators are examining how collaboration across the arts can give new insights?
The third and final section, Tuesday, begins with half the stage space being taken up by film footage of very slowly breaking waves. A voice-over reads Woolf’s suicide note left for her husband before she stepped into the river Ouse, her pockets weighed down with stones. After the glitz and glamour of Becomings, Tuesday was quietly reflective and we felt the slow motion of the waves and the inevitability of time passing.
Clarissa appears alone on stage at the beginning of Tuesday. But her memories continue to fill her mind. Children appear from the darkness beneath the images of waves. They run to her. She is joined by Sarah Lamb (as her sister, Vanessa Bell?). Voices are heard over the music and the names of Vanessa’s children are mentioned—Quentin, Angelica, Julian. The corps de ballet dances in wave-like movements. Clarissa stands and watches. Bonelli joins her and they are left alone. Clarissa slips to the floor and the waves retreat.
I found Woolf Works a hugely moving work. I’m sure I missed many of the nuances. But I love that I could make up an interpretation (my own if not McGregor’s) that sent me out of the theatre fulfilled and wanting to see the work many more times. It is an exceptional collaboration with intelligent minds behind it, including that of a dramaturg (Uzma Hameed). This is how dance should be.
Woolf Works is directed and choreographed by Wayne McGregor and first took the stage in 2015. Its revival in 2017 is part of the Royal Ballet’s celebration of McGregor’s ten years as the Royal’s resident choreographer and the work will be part of the Royal Ballet’s repertoire on its tour to Australia in June/July 2017.
14 November 2016, Royal Opera House, Covent Garden, London
This triple bill of works by Wayne McGregor, including Multiverse his newest commission, was presented in celebration of McGregor’s ten years as resident choreographer with the Royal Ballet. While all three works clearly had the ‘McGregor touch’ in terms of a choreographic interest in the extent to which the body can be pushed to extreme limits, each was also quite distinctive in its own right.
Chroma, the oldest of the three, was first made in 2006. It was the work that inspired Monica Mason, director of the Royal Ballet at the time, to offer McGregor the position of resident choreographer. Ten years on Chroma retains its minimalist beauty in its design with a set by John Pawson, costumes by Moritz Junge, lighting by Lucy Carter, and a score by Joby Talbot and Jack White III. It is still thrilling to watch choreographically with its extended limbs and emphasis on a fluid torso. But what made a difference in the current production was the presence in the cast of five dancers guesting from Alvin Ailey American Dance Theater: Jeroboam Bozeman, Jacqueline Green, Yannick Lebrun, Rachael McLaren and Jamal Roberts.
It is tempting to say that these dancers brought a different aesthetic to the choreography, and perhaps they did. Certainly I sensed that they injected a more powerful human quality, something emotional into the steps. It is hard to articulate just why the way they danced was different but it seemed like they had a different kind of focus in their movement. A greater sense of physicality and a different muscularity maybe? Whatever it was, it added a different level of interest, which is not to denigrate in any way the five fabulous Royal Ballet dancers who completed the cast: Federico Bonelli, Lauren Cuthbertson, Sarah Lamb, Steven McRae, and Calvin Richardson. The 2016 production indicates that Chroma lives on and has the power to grow. (Thoughts on my first viewing of the Royal Ballet in Chroma in 2010 are at this link.)
The closing item was Carbon Life, made in 2012. Again it had lighting by Lucy Carter, sometimes as in the opening moments eerily green, other times full on bright white. Design was by English fashion designer Gareth Pugh and music by pop/funk artists Mark Ronson and Andrew Wyatt.
I especially enjoyed some of the earlier sections where unisex seemed to be the order of the day. Men and women wore similar costumes: short black trunks and, for the women, a skin-coloured midriff top that tightly enclosed the upper body and made them appear topless. Added to this costume both sexes had slicked-back hair (wigs?) that added to the similarity in the look of the sexes. Choreographically this section seemed at times like a ballet class engaged in a kind of temps lié exercise.
A later section was distinguished by some incredible costuming consisting of black, stiffened additions to the head, legs and other parts of the body. They were a little like a cross between KKK headgear and Cambodian dance costume attachments, or perhaps a bit like Ballet mécanique. Certainly the shapes were architectural and the body began to sprout structural additions. The singular attraction of Carbon Life, however, was the presence of live musicians onstage/upstage usually partially hidden by lighting or a screen of some sort. Their playing was loud and engaging and, when they appeared to take a curtain call, they too were dressed to kill. But in the end the choreography seemed like a minor player in all this and Carbon Life took on the guise of a fast-paced video clip rather than an exercise in choreography.
In between Chroma and Carbon Life came the newly commissioned Multiverse, which, incidentally, the Australian Ballet adds to its repertoire in February 2017. I thought it was the least interesting of the three works, although program notes were full of explanations and thoughts about McGregor’s intentions, which centred on the current refugee crisis and other such global perils. Musically (or sound-wise) it was diverse and consisted of two pieces by Steve Reich—a specially commissioned work Runner, and a 1965 piece It’s gonna rain, of which the second part is the voice of a Pentecostal preacher holding forth in Union Square in San Francisco on the biblical story of Noah and the flood. Perhaps because I found William Forsythe’s work, Quintett, so moving—it used Gavin Bryars recording of a homeless man singing over and over Jesus’ blood never failed me yet, which sat emotively beside the choreography—I found the use of the preacher’s words unaffecting. Unlike the Forsythe piece, in Multiverse choreography and recording didn’t seem to reflect each other in a thought-provoking manner. After all this, the second Reich piece, Runner, was simply soporific for me.
Nevertheless, Multiverse began strongly with a male duet—I saw Luca Acri and Marcelino Sambé—full of tension and drama. It was by far the most interesting part of the work choreographically. The section that followed referenced the plight of refugees. This idea came across most strongly via the set by Rashid Rana in which fragmented images appeared. Some were contemporary shots, others were from the well-known painting by Théodore Géricault, The Raft of the Medusa. But there were rather too many moments when the dancers simply stood still and, while this might be seen as giving way to the power of the images and what they represented, it was hardly compelling from a movement point of view.
Perhaps Multiverse needs more than one viewing in order to appreciate its complexities? But then not everyone has such a luxury. The idea of making dance that reflects current society is indeed admirable (and I am a fan of McGregor’sLive fire exercise). But on this occasion it simply didn’t work for me and I began to wonder whether I should not have read the detailed program notes because what was written and what appeared onstage didn’t really match.
Audience reaction was a curious thing too. As the curtain went down, behind me an enthusiastic audience member was cheering long and loudly. Beside me another was boo-ing!
10 May 2014 (matinee), Joan Sutherland Theatre, Sydney Opera House
What an inspiring performance the Australian Ballet gave of Wayne McGregor’s Chroma. Not an easy ballet to bring off, but all the diverse features that make McGregor’s choreography so eminently watchable were there. Limbs extending through space, off-centre partnering, moves that were in turn twisted, contorted, angular and sometimes smooth and undulating. And all were all set cleanly and articulately against John Pawson’s stripped back, white box space with its rectangular ‘window’ of changing colours. McGregor is a master at exploiting the balletic body to produce astonishingly shaped movements—movements of the twenty-first century perhaps? What I especially like is that his choreography make us see how perfectly amazing the balletic vocabulary can be.
I particularly admired Vivienne Wong’s performance throughout the work and also a powerful trio from Brett Chynoweth, Rudy Hawkes and Andrew Killian—fast, assertive dancing from them all. But it was a duet from Lana Jones and Daniel Gaudiello that stole the show for me. McGregor’s choreography suits Jones with her strong, unassailable technique and Gaudiello has such a way of adding his own signature to everything he does while still remaining true to the intentions of the choreographer.
Stephen Baynes’ new work, Art to Sky, began with some lovely, lingering choreography, beautifully performed by Leanne Stojmenov and Gaudiello again. It was romantic, softly falling from step to step. The corps de ballet also had some memorable choreography in the opening sections, surprising at times and always pure and fresh. But after that there were a few too many somersaults, cartwheels and legs in the air, not to mention twee sections of humour that didn’t quite work. It is a little problematic too that one of George Balanchine’s most exquisite ballets (in my mind anyway) is Mozartiana danced to the same music, Tchaikovsky’s Mozartiana, that Baynes chose for Art to Sky. Balanchine has a habit of lingering in the mind, making it hard to accept anything else to the music he uses.
Hugh Colman’s shadowy, upstage portal that comprised the set, lit by Rachel Burke to give a hint of the mysterious, were strong additions to the look of Art to Sky. Colman, Burke and Baynes work well together as collaborators and bring a sense of visual cohesion to each other’s work.
The program concluded with Jiri Kylian’s companion pieces, Petite Mort and Sechs Tänze and it was a treat to see some more Kylian back onstage with the Australian Ballet. It was interesting to have Kylian on the same program as McGregor, as also happened last year with Bella Figura and Dyad. Kylian, too, pushes the dance vocabulary and gives us a surprising array of movement, but he adds a degree of humanity and humour to his works that McGregor passes over (at least in Chroma, although perhaps not to the same extent in others of his works).
This mixed bill was a relief from the full-length ballets that we are told draw the best houses. To me the house looked pretty much full for what was a diverse and well danced program. I’d like more in this vein.
In September I continued my interviewing program for the National Film and Sound Archive’s Heath Ledger Young Artists Oral History Project with two interviews with graduating students from the National Institute of Circus Arts (NICA). Tim Rutty, seen above rehearsing an aerial rope routine, is specialising in aerials and has his eye on work with Circa.
Laura Kmetko, featured on NICA’s 2014 poster below, is specialising in contortion handstands. Following an appearance in the opening number at the Festival mondial de Cirque du Demain in Paris in January 2013 she hopes to pursue her career overseas.
As we anticipate Wayne McGregor’s Chroma as part of the Australian Ballet’s 2014 program, I was interested to read about an exhibition called Thinking with the body, Wellcome collection currently showing in London until late October. A thought-provoking article about McGregor generated by this exhibition and written by Sarah Kent appeared on the arts desk site at this link.
Is it true, as Kent writes, that ‘focusing on fluent, high-energy motion devoid of emotion produces dances that feel sterile despite the brilliance of the technique’ I wonder? Below is a brief clip in which McGregor and composer Joby Talbot discuss the creation of Chroma.
Interview: Canberra Close Up
In September I was delighted to have the opportunity to talk to Alex Sloan, presenter for 666 ABC Canberra, on her radio program Canberra Close Up. The interview is available at this link.
Press for September
During September I had the opportunity of reviewing shows that were not dance focused. It loved the experience of going to the theatre for non-dance reasons, which is something I rarely have time to do.
‘Don’t skip this beat’. Review of STOMP ’13, The Canberra Times, 5 September 2013, ARTS p. 8. [Online version no longer available].
‘Beauty re-Bourne on the silver screen’. Preview story on the film version of Matthew Bourne’s Sleeping Beauty, The Canberra Times, 7 September 2013, Panorama p. 15. [Online version no longer available].
‘Caught between two worlds’. Review of The Book of Everything, Canberra Rep., The Canberra Times, 17 September 2013, ARTS p. 7. [Online version no longer available].
‘The freedom for dancing’. Review of Footloose, Supa Productions, The Canberra Times, 17 September 2013, ARTS p. 6. [Online version no longer available].
‘Ballerina’s globetrotting life’. Obituary for Anna Volkova Barnes, The Canberra Times, 18 September 2013, ARTS p. 6. As a PDF.
‘Russian feast a real cracker’. Review of A Festival of Russian Ballet, Imperial Russian Ballet, The Canberra Times, 19 September 2013, ARTS p. 8. [Online version no longer available].
‘Winton’s tale of grief challenges and confronts’. Review of Tim Winton’s Shrine, Black Swan State Theatre Company, The Canberra Times, 28 September 2013, ARTS p. 20. [Online version no longer available].
The Australian Ballet recently announced its season for 2014. The inclusion of Stanton Welch’s production of La Bayadère, made for Houston Ballet in 2010, seems to have caused the biggest stir in the press with reports that live snakes and a snake wrangler will make an appearance. Reptiles and their handlers aside, it is certainly a step in an interesting direction to have a new work from Welch (new to Australia anyway) on the program given that he has continued to hold the post of a resident choreographer while also being artistic director of Houston Ballet since 2003.
Although I was not overly impressed with Welch’s recent Rite of Spring, I look forward to seeing this full-length Bayadère and hope that he has tightened up the story a little. ‘La Bayadère is a recurring problem’, as American Dance Magazine noted not so long ago.
But for me the most interesting program on the 2014 list is a mixed bill entitled Chroma. It includes Wayne McGregor’s Chroma, an exciting work made on the Royal Ballet in 2006. I loved its minimalism and its collaborative aesthetic when I saw it a couple of years ago. The Chroma program also includes two short pieces by Jiri Kylian, Petite Mort and Sechs Tänze.
The Australian Ballet showed these two Kylian pieces in 2005 and who can forget those wonderfully fluid duets from Petite Mort, not to mention the fencing foils that the men manipulate in the opening sequences, or those roll-along, black ballgowns! It’s hard to forget Sechs Tänze too, a curiously playful work in which the dancers wear costumes designed by Kylian, which he calls ‘Mozartian underwear’. This program also includes a new work by Stephen Baynes.
A second mixed bill entitled Imperial Suite consists of George Balanchine’s Ballet Imperial and Serge Lifar’s Suite en blanc. The season also includes Kenneth MacMillan’s Manon, which we have seen so many times in Australia, and Peter Wright’s The Nutcracker.
I am looking forward to an exciting season in 2014 although I’d rather something other than Manon as a third evening length work.
Michelle Potter, 6 September 2013
Here is a is a link to a Houston Ballet preview of Welch’s Bayadère. Watch out for a variation from the Kingdom of the Shades scene danced by Nozomi Iijima. It comes towards the end of the four minute preview.
Featured image: Natasha Kusen and Andrew Killian in Petite Mort. Photo: Paul Scala. Courtesy the Australian Ballet
11 May 2013 (matinee & evening), Joan Sutherland Theatre, Sydney Opera House (The Four Temperaments, Bella Figura, Dyad 1929)
If this triple bill program from the Australian Ballet did one thing it was to show how far ahead of his time George Balanchine was in 1946 when he made The Four Temperaments.
Although the title, The Four Temperaments, suggests a link to the ancient practice of assigning behavioural characteristics to humans based on the extent to which certain fluids are present in the body, I think this is essentially an abstract ballet. It deconstructs classical ballet vocabulary before the idea of deconstruction in arts practice became a trendy phenomenon. So many of the movements—Balanchine’s different examples of supported pirouettes for example—show by the very act of deconstruction how the vocabulary of ballet is constructed. In addition, Balanchine’s use of turned in feet and legs, forward-thrusting pelvic movements, stabbing movements by the women on pointe, angular shapes made with the arms and palms of the hand, are all beyond what the eye is accustomed to think of as pure, classical movement. But seen within the context of the entire ‘Vanguard’ program, it is clear that similar movements surface in the work of choreographers coming after Balanchine. Such an attitude to the balletic vocabulary is especially noticeable in the choreography for Dyad 1929 made by Wayne McGregor in 2009.
Balanchine made his move in 1946 (at least) and I think the different look Dyad 1929 and others of McGregor’s works have, which is certainly a look more in keeping with the twenty first century, is as much a reflection of technical developments and changes in body shape since 1946 as anything else. The Four Temperaments is really a remarkable work.
The Australian Ballet has been beautifully coached and rehearsed for The Four Temperaments. There was a simple elegance and a clarity of technique in their dancing and they made the choreographic design very clear. At times, however, I wished some parts had been slightly more exaggerated—the movement in the pelvis for example. Balanchine was a showy choreographer at times and I think a little of the showiness that American companies seem to add to The Four Temperaments was missing.
Of the two casts I saw I most admired Daniel Gaudiello in the ‘Melancholic’ variation. I loved his unexpected falls, the theatrical way he threw his arms around his body, his very fluid movement, and his wonderful bend back from the waist as he made his (backwards) exit. I also enjoyed the pert and precise quality Ako Kondo and Chengwu Guo brought to ‘Theme II’ and Juliet Burnett’s languorous and smooth flowing work in ‘Theme III’. Of the corps Dana Stephensen and Brooke Lockett (in different casts) stood out for me in supporting roles in ‘Melancholic’.
Then came Jiri Kylian’s emotive work Bella Figura with its mysterious lighting and half-revealed spaces.
Bella was first performed by the Australian Ballet in 2000 when it had a more than memorable cast, and it has been restaged in the intervening period, again with strong casts. So it is a pleasure to record that one cast I saw on this occasion did not make me think back to other performances. It even opened up for me a new view of the piece. The closing duet, danced in silence by Lana Jones and Daniel Gaudiello, in moody lighting with two braziers burning brightly in the background, was moving, intimate and deeply satisfying. What wonderful rapport these two dancers have and how affecting is their ability to project that rapport so strongly. Jones and Gaudiello were also outstanding in another duet earlier on in the work. I don’t remember such a comic element in that particular duet on previous occasions; this time it bordered on the slapstick. But it was brilliantly done as Jones and Gaudiello managed to retain ‘la bella figura’ in its best sense, while also making us laugh.
After these two works Dyad 1929 looked very thin to me. I have admired recent works by Wayne McGregor including his Chroma, FAR and Live fire exercise, and I was also impressed by Dyad 1929 when it was first shown in Australia in 2009. This time I didn’t get the feeling that the dancers saw any diversity within the work. They all performed the steps very nicely but brought little else. After The Four Temperaments and Bella Figura it was a disappointment, not so much choreographically as in terms of performance.
Thank you to those who have logged on to my website over the past year, especially those who have kept the site alive with their comments. I wish you the compliments of the season and look forward to hearing from you in 2013.
The best of 2012
Lists of the ‘best of’ will always be very personal and will depend on what any individual has been able to see. However, here are my thoughts in a number of categories with links back to my posts on the productions. I welcome, of course, comments and lists from others, which are sure to be different from mine.
Most outstanding new choreography: Graeme Murphy’s The narrative of nothing(despite its title), full of vintage Murphy moves but full of the new as well.
Most outstanding production: Bangarra Dance Theatre’s Terrainwith choreography by Frances Rings and outstanding collaborative input from the creative team of Jennifer Irwin, Jacob Nash, Karen Norris and David Page.
Most disappointing production: The Australian Ballet’s revival of Robert Helpmann’s Display. I’m not sure that anyone in the production/performance really ‘got it’ and it became simply a reminder that dance doesn’t always translate well from generation to generation, era to era.
Surprise of the year: Finucane and Smith’s Glory Box. While some may question whether this show was dance or not, Moira Finucane’s performance in Miss Finucane’s Collaboration with the National Gallery of Victoria (Get Wet for Art) was a wonderful, tongue-in-cheek comment on the angst-ridden works of Pina Bausch, and as such on Meryl Tankard’s more larrikin approach to serious issues.
Dancer to watch: Tammi Gissell. I was sorry to miss the Perth-based Ochre Contemporary Dance Company’s inaugural production, Diaphanous, in which Gissell featured, but I was impressed by her work with Liz Lea in Canberra as part of Science Week 2012 at CSIRO and look forward to the development of that show later in Canberra in 2013.
Beyond Australia: Wayne McGregor’s FAR, in which the choreography generated so much to think about, to talk over and to ponder upon.
Most frustrating dance occurrence: The demise of Australia Dancing and the futile efforts to explain that moving it to Trove was a positive step.
11 October 2012, Northern Stage, Newcastle-upon-Tyne
Wayne McGregor’s works are always accompanied by intellectually demanding notes and explanations. FAR is no exception. Made originally in 2010, it is according to McGregor inspired by a study of the Enlightenment by English academic Roy Porter entitled Flesh in the Age of Reason (from which comes, as an acronym, the name of McGregor’s work).
However, I am a fan of the now probably outmoded concept of ‘intentional fallacy’ whereby the artist’s intention is not a standard for judging the success or failure of a work. While it is always interesting to read what the artist believes is the intention of, or forms the inspiration for a work, the work has to stand on its own and must be open to the necessarily varied interpretations of the audience.
FAR begins with a duet, which can only be described as a passionate, if somewhat acrobatic, exploration of the boundaries of what the body can do in dance. The couple, a man and a woman, are attended by four black-clad figures holding flaming torches. These figures vanish quietly and almost imperceptibly one by one throughout the duet. The dancers perform to an 18th century aria, Sposa son disprezzata (‘I am wife and I am scorned’) by Gemininao Giacomelli and sung by Cecilia Bartoli, and the whole is extraordinarily emotional.
But this lush opening gives way to the hard edge of the 21st century as a growling electronic score by Ben Frost takes over and the flicker of torches is replaced by LED lighting (design by Lucy Carter) in the form of five rows of tiny tubes projecting from a rectangular, white board, which occupies much of the back section of the stage. The choreography too seems to lose its fluidity and becomes more angular, and full of flicking hands and very busy bodies.
Occasionally one might read a narrative line into some sections. There are moments when the dancers seem to engage in an argument for example as they push each other around. Occasionally too the ensemble of ten dancers moves as one and this comes as something of a shock to the eye after the seemingly random structuring of bodies on stage. A duet for two men is a highlight, as is a brief moment when two dancers crouch low together on the stage holding a difficult pose on half pointe.
The work closes with another strong duet for a man and a woman in which the woman’s body in particular is often stretched taut, as if to balance the rippling bodies that we have seen in abundance throughout the work. In the final moments the man lowers the woman to the floor, leaves her lying there and walks off.
Some may have seen in this work a connection between body and soul, which was at the heart of Porter’s investigations into the 18th century mode of thinking and behaving. I didn’t think about it as I watched the show. More than anything, seeing McGregor’s tangled yet clearly articulated choreographic moves is a treat, especially when performed by the athletic dancers who make up Random Dance. It was a pleasure to see Anthony Whitely again too, now dancing with Random Dance after his stint with Sydney Dance Company.