Reviews by Linda Badger

Construct, by Tanja Liedtke
Construct, which could have also been called ‘Deconstruct’, was a very interesting take on the way we attempt to build our lives in the expectation of perfection. Our lives end up taking over and building us, in the way we view and perceive each other.  It explored the dynamics of relationship in both a serious and very comedic manner. 

As always, Choreographer Tanja Liedtke had a very ingenious and unique way of taking the subject matter, relationships, and utilising something foreign to conventional dance choreography, the tools and materials of a construction site, to express her intent.  Her choreography came to life as the work started without introduction, and the audience became silent as the dancers entered the space.  She fused popping and locking into contemporary, using the noise of the drill to drive the movement. As the dancers began to move, the audience suddenly realised they weren’t watching pedestrian movement any more, but were actually watching choreography, so clever was the way she manipulated the scene.  

The audience applauded loudly, in the moments where it was so funny, or the movement was so unique and then drawn out, that it was almost like you were holding your breath waiting for it to be normal again, or familiar, but it would continue on in some moments, one movement linking perfectly to the next like a great paragraph without full stops.  

Only a few times did the dancers faulter in their unison, making up for those moments in their brilliant acting skills and delightful manipulation of their bodies to accentuate their characters.

Lighting and props were both used to their fullest potential, taking on a life of their own. The question I had at the end of one scene was, how many different ways can you use a plank of wood?…It seemed they created every room in the house by using a few blocks of wood.  A perfect example of how Liedtke knew how to think outside the box.

In conclusion, I have to say that the death of this extraordinarily talented choreographer is not only the loss of a beautiful life, but a talent that will never be fully realised or reach the height of her potential.  I feel so priviledged and honoured to have witnessed this final work, and to have seen her first full length work, Twelfth Floor which was equally as amazing.

Alas, by Nacho Duato and Compañía Nacional de Danza
Alas left me with mixed feelings…there were some beautiful, take your breath away type moments, and there were some not so great moments.  Nacho Duato is currently one of the world's foremost contemporary dance choreographers, and it was a great thrill to have some of his works being performed at the Sydney Festival.  It was an even greater treat to have the master himself dance in this work.  He defied his age with his agility, but his depth of expression showed the gift of maturity and experience that he brought to the stage.  The same could not be said of the company dancers.   Considering we have been exposed to such mind blowing talent on shows such as ‘So You Think You Can Dance’, and we have had the priviledge to see such amazing choreographic talent in our own choreographers such as the late Tanja Liedtke, I felt that Alas left much to be desired. 

The dancers danced nicely, but there was no ‘x factor’, as I expected from this world class company.  There was one scene where they attempted to portray a contemporary clubbing type scene, but since these dancers have mainly only trained in contemporary and ballet styles, their efforts to use appropriate dynamics and a more commercial dance style made them look lanky and out of place.  Unfortunately in communication, there seemed to be the typical European ‘4th wall’,  where dancers did not connect with their audience, and even in their bows at the end, few could produce so much as a smile. 

The concept was one that portrayed love, death and longing to be human.  The lead role of Damien, a fallen angel longing to be mortal, was portrayed very well by Duato’s concept and storytelling.  It was an interesting journey, not one so much of love as of lust, including all sorts of sexuality and references.  Is love necessarily portrayed by sex?  That is the question I would have to ask, as this seemed to be the strongest message being sent. 

The Jiri Kylian influence was definitely seen within the Choreography, with the accentuation of long limbs, beautiful feet, femininity in the costumes that the women wore, and the strength of the partner work.
The setting  was very well done.  There was a see-through  plastic scaffolding tower, by which all either descended or ascended to heaven, and lighting was used to its fullest to compliment the work.  My favourite part of the whole piece was the end scene. Water was poured over the lead (Duato), and it filled the floor. The dancers all entered the stage and gradually made their descent to ‘heaven’, whilst Damien remained behind as finally mortal.  It was really lovely how in the splashes, every droplet was seen as the lighting reflected off it perfectly.  It was such a beautiful end to the work.