Hairspray will open in Melbourne this coming October.

In Hairspray it’s 1962 – the ‘50s are out and change is in the air. Baltimore’s Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion – to dance. She wins a spot on the local TV dance program, “The Corny Collins Show” and, overnight, is transformed from outsider to irrepressible teen celebrity.

Hairspray first opened on Broadway in July 2002, and played for a fabulous 6 and 1/2 years until January 2009. It is a fantastically fun musical and winner of 30 major awards including: Tony Award for Best Musical (2003), Tony Award for Best Original Score (2003), Olivier Award for Best New Musical (2008) and a Grammy Award for Best Show Album (2002).

The Australian production will be directed by David Atkins, choreographed by Jason Coleman and performed by an amazingly talented cast.

Jaz Flowers will play Tracey Turnblad, with SYTYCD‘s Jack Chambers as Link Larkin, joined by
Trevor Ashley as Edna Turnblad, Grant Piro as Wilbur Turnblad, Marney McQueen as Velma vonTussle and Scott Irwin as Corny Collins. Cle Morgan will play Motormouth Maybelle  and Nancy Denis will delight as Little Inez.

Photo: Belinda Strodder  www.dancephotography.net.au

Merlyn Theatre, Malthouse Theatre, Melbourne
June 23^rd

By Deborah Searle

Hailing from Europe, Meg Stuart and Phillip Gehmacher gave us a rare taste of dance, relationships and music, and how they can blend together to tell an intricate tale about life and love.

With impressive contemporary dance résumés, I expected to see cutting edge, creative movement, yet Maybe Forever was much more about a story of emotions than dance steps.

The work told of the struggle between two soul mates as they expressed their love, torment and unease at life’s journey, to the lullabies of lone musician Niko Hafkenscheid. The dancing was disjointed, thrown, and at times isolated. The movement was so contemporary that it barely showed technique, strength or flexibility, but it did show passion and conviction. Although there wasn’t really anything I would call technical ‘dancing’, the movement was interesting and unique. At times the two performers would grapple on the floor, rolling and pulling each other around, creating nice shapes and an intriguing partnership, and the use of a step and slope on one side of the stage allowed the artists to use the set to create different levels and keep us engaged.

The music, sung by Hafkenscheid, as he strummed his guitar, was infectious. I would buy the CD! His melodies, with a Jack Johnson feel, told the story, and the theme song, ‘Maybe Forever’ was something special. Shortly into the piece Hafkenscheid stopped playing his guitar and introduced himself, which was a little strange, but nice and refreshing, giving us a moment’s break from the heavy emotional story portrayed by the dancers.

Stuart and Gehmacher separately recited monologues in a microphone. Stuart’s monologue, in particular, was powerful and real. As she spoke she made isolated arm movements and took loud deep breaths which was confronting and uncomfortable – but that was her plan. I must commend dramaturge Myriam Van Imschoot, as the acting throughout the entire work was exceptional. Stuart and Gehmacher were committed to their characters and their story.

The set was simple and reminiscent of a cinema stage with a big screen in the centre and curtains either side. A large picture of dandelions in the centre changed from black and white to colour throughout the piece and was really quite beautiful. The stage was large and the dancers, and lone musician, looked like figurines in a play as we were given a glimpse into their characters’ lives. At one stage the artists pulled back one of the side curtains and stood behind the stage area to dance. This was very different and interesting. It drew me in as I appreciated the creativity of the staging.

Maybe Forever was passionate and real. As a dancer I yearned to see more dance and technical movement, however I was left feeling satisfied with the story and its portrayal. Although Stuart and Gehmacher didn’t show us the extent of their dance artistry, they did prove to us that they are indeed talented artists.

Flamenco star Paloma Gomez brings the flame down under.

By Paul Ransom.

Flamenco is a mongrel; a pulsing, vibrant, red blooded child of many sires. No wonder it’s so healthy.

Most agree that flamenco coalesced out of Gypsy, Moorish, Sephardic and Byzantine clouds sometime in the fifteenth century, finding its feet in the southern Spanish region of Andalusia. By the time the word flamenco first appeared in the eighteenth century the dance had already taken hold, with its robust peasant heartbeat and intricate Middle Eastern stylings, making it the signature dance of cities like Sevilla and Cordoba.

Today, flamenco is synonymous with Spain. However, it is by no means confined to the sunny shores of the Iberian Peninsula. Indeed, in Australia the dance thrives, a fact recognised by the Spanish government when they sent flamenco goddess Paloma Gomez down under to perform and teach.

“It’s totally amazing for me to see people so far from Spain who have the feeling for flamenco,” Gomez declares. “It’s beautiful. When I travel I see that through the flamenco you can connect with people around the world because they feel the same when they are dancing.”

For Gomez flamenco is truly in the blood; both her parents were dancers and she herself began to dance at four. Years later she became a principal dancer with both the Ballet Nacional de Espana and Nuevo Ballet Espanol. These days she runs her own Madrid based company.

The first stop on her Australian tour was Adelaide, where she teamed up with Studio Flamenco, who themselves are recognised as one of Australia’s foremost exponents of the form. For co-founder Emma Fernée working with Paloma Gomez represents a high point in her own flamenco odyssey.

Having done classical ballet as a child, Fernée came to flamenco by accident. “I saw some in a film and I thought, ‘that looks like something interesting, maybe I’ll just give that a go’.”

From there, she found herself drawn in. “There was something about me in flamenco that I wanted to express. Maybe I’m not really sure what that is but it certainly gave me the chance to express something about myself … There’s a freedom in flamenco to be quite individual. You’re not compelled to always put on a smile and project a particular image.”

Paloma Gomez certainly wouldn’t disagree. “It’s a way you can express every emotion you have inside,” she says. “You cannot dance flamenco if you don’t feel something very strong.”

“It’s more than just a dance form,” Fernée is quick to add. “It’s the music, it’s the songs; everything about it has a very deep history.”

As someone who discovered it from the outside Fernée is keenly aware of both the traditions and the emerging realities of flamenco in the twenty first century. “Outside of Spain it’s become a really popular art form and it’s kinda going through a bit of a transformation. It’s definitely got its origins in Andalusia but it’s becoming international.”

Flamenco was born of fusion so it is perhaps no surprise that it is readily taking on new influences. “The important thing here in Australia is that we don’t try to be Spanish,” Fernée contends. “I think you have to take the art form and use it in a way that has meaning for you and for the culture that you live in.”

As Paloma Gomez says, “You first have to know the roots, but after that you can use your own personality. So of course people around the world bring something new and this keeps the flamenco alive.”

And its popularity is growing despite the fact that it’s not the easiest dance to learn. Even though its birthplace was amongst the peasantry and for centuries it was performed without musical accompaniment (only handclaps) it has technical aspects that lift it above the usual simplicity of folk dances.

“The footwork is quite technical and there are very particular ways that you move the body,” Emma Fernée explains. “But having said that, I teach children and adult beginners who have no dance background, and by and large they get it and enjoy it … But the more you hone your technique the more freedom you have to express.”

Here of course is the point. Expression. Passion. Flamenco is anything but austere. It burns. Paloma Gomez laughs knowingly at this characterisation. “At the end it is all about human emotion; and we can all feel that.”

As if the point needs illustrating, she continues. “When I am teaching outside of Spain I like to try to speak English for the students so they can understand but a lot of times they tell me, ‘no, Paloma, speak Spanish’. They say this because the flamenco is a universal language.”

From its melting pot origins in ‘reconquista’ Spain to its globally popular standing five centuries later, flamenco continues to clap and strum out the beat of many hearts, its earthy power undigitised.

The Arts Centre, State Theatre
Sunday June 20th

By Deborah Searle.

What a night of nights! This year’s Awards Gala was a celebration of all things dance by a growing and excited Australian dance industry. As media sponsor, Dance Informa was there to applaud the industry it loves. Hosted by Neil Pigot and Auslan presenter Anna Hruby, the evening paid tribute to the country’s dance and choreography achievements of 2009. We were treated to performances by Buzz Dance Theatre, Tracks Dance Company and The Australian Ballet, amongst others.

The evening opened fittingly with Bangarra Dance Theatre presenting Black, choreographed by Stephen Page, who was later to win an award for Services to Dance. Bangarra also took out the award for Outstanding Performance by a Company for Fire – A Retrospective.  In Black the men of Bangarra showed us their special and almost animalist movement as we caught a glimpse into sacred Aboriginal Men’s Business. It was intriguing and beautiful and well received by the audience.

The highlight of the evening was a performance of Untrained by Lucy Guerin Inc. Comical and interesting, Untrained explores the differences between two trained and two un-trained dancers. The audience was very appreciative of all the dancers, who possessed performance flair, no matter how awkward they were. Untrained was laugh-out-loud funny and very ingenious.  It was the talking point of the evening for those who had not seen the work before.

A wonderful surprise for the evening was a performance by new Perth based company Ludwig. Presenting Soul Searching, Ludwig showed real talent and a promising future ahead. The dancers were strong and technically sound, and the choreography displayed great musicality and a fresh flavour.

To end the evening, a barrage of Melbourne’s young dancers entered the stage with ‘One’ from A Chorus Line. Choreographed by Jason Coleman and Troy Phillips, the piece featured ballet, jazz and hip hop and was led by an adorable young girl, who looked only about eight years old.  It was a fun and energetic number, followed by an explosion of streamers from above, covering the excited audience.

Congratulations to Ausdance Victoria, for another wonderful celebration. We look forward to the Dance Awards in Brisbane next year.

And the winners were….

LIFETIME ACHIEVEMENT AWARD
William (Bill) Akers AM

SERVICES TO DANCE
Stephen Page

OUTSTANDING ACHIEVEMENT IN DANCE EDUCATION
Maggi Phillips

OUTSTANDING ACHIEVEMENT IN YOUTH OR COMMUNITY DANCE
Restless Dance Theatre for Bedroom Dancing

OUTSTANDING ACHIEVEMENT IN CHOREOGRAPHY
Meryl Tankard & Paul White, The Oracle (independent)

OUTSTANDING PERFORMANCE BY A COMPANY
Bangarra, Fire – A Retrospective

OUTSTANDING ACHIEVEMENT IN INDEPENDENT DANCE
Sue Peacock, Questions Without Notice

OUTSTANDING PERFORMANCE BY A FEMALE DANCER
Lana Jones in Firebird  (The Australian Ballet)

OUTSTANDING PERFORMANCE BY A MALE DANCER
Paul White in The Oracle (Meryl Tankard and Paul White)

OUTSTANDING PERFORMANCE IN A STAGE MUSICAL
Caroline O’Connor, Chicago

Photo: Bangarra Dance Theatre. Photography by Belinda www.dancephotography.net.au

State Theatre, The Arts Centre, Melbourne
June 22^nd

By Deborah Searle.

Coppelia is an enchanting traditional ballet with a fun story line and lovable characters. For the Australian Ballet’s rendition of the famous classic, Leanne Stojmenov played the curious and cheeky ‘Swanilda’ with Yosvani Ramos as her mischievous suitor ‘Franz’.

The ballet is light hearted and perfect for all ages. The costumes are stunning and the sets are exquisite, displaying Kristian Fredrikson’s incredible artistic flair. The choreography draws from national character dancing and blends with traditional classical ballet. It is light and bouncy, creating a joyous atmosphere in the theatre.

Stojmenov made an ideal Swanilda. She was every bit the naive, young village girl she needed to be,  bringing the doll ‘Coppelia’ to life and tricking both Franz and the doll’s creator, ‘Dr Coppelius’. Her acting was textbook and her dancing was of course, flawless. I very much enjoyed watching Stojmenov embrace her character.

The performances by Swanilda and Franz’s friends, danced by the Corpyphees, with the addition of Corp dancers Halaina Hills, Chengwu Guo, John-Paul Idaszak and Jarryd Madden, were jubilant and danced with strength and clarity.

Act 2, inside the house of Dr Coppelius with his weird and wonderful toys, was the highlight of the show for me. Stojmenov’s dancing as the doll was cute, isolated and very convincing. Damien Welch, playing Dr Coppelius, was not as quirky as I would have liked, but it was nice to see him return to the stage after retiring from his role as Principal dancer last year. However, at the end of Act 2 there was a curtain call just for Damien Welch, which I found a little strange, considering that there was still an entire act to go.

The Australian Ballet's Coppelia. Photo Branco Gaica

Act 3 was a feast of dancing, as we were treated to the show’s pas de deux, solos by the two leads and fabulously fun group numbers in the celebration of Swanilda and Franz’s wedding.  We enjoyed a solo by Ramos where he showed us his skills as a Principal dancer, and Stojmenov proved why she is climbing the ranks. Gina Brescianini, dancing ‘Dawn’, was breathtakingly beautiful in a soft pink and yellow costume and Juliet Burnett as ‘Prayer’ highlighted her training and control.

The Corp de Ballet were all strong dancers, however at times they were a little out of line or synchronization. My only other gripe was the lack of chemistry between Stojmenov and Ramos. They seemed more like friends than lovers, and so the wedding scene at the end seemed a little forced.

The orchestra were very tight. The timing is so regular in Delibes’ score for Coppelia that it would be very obvious if they weren’t. Most importantly though, the music was well catered to the needs of the dancers. The conductor slowed the score, sped it up slightly or made the music softer or louder for the dancers as need be. This was not to help the dancers technically or with timing, but to help them communicate dramatically. Orchestra Victoria provided us with an independently enjoyable musical experience.

Dame Peggy van Praagh and George Ogilvie’s 1979 production of Coppelia is a delight. The talented 2010 cast of dancers and musicians brought the work to life and back into the hearts of many ballet lovers.

By Rebecca Martin.

Human Abstract is the first work to be presented by JACK Productions, a new and exciting project-based dance company founded by emerging choreographer Lucas Jervies and three senior dancers from The Australian Ballet.

From a desire to produce innovative dance in Australia, Jervies, Robert Curran, Andrew Killian and Laura Tong founded JACK and launch the company with a season of dynamic classically based choreography. With Jervies at the creative helm, and guest performances from Australian Ballet dancers Danielle Rowe, Leanne Stojmenov, Kevin Jackson and international guest artist Sabina Perry from Canada, Human Abstract looks set to impress Australian audiences in June. 

Lucas studied dance at the Victorian College of the Arts Secondary School and the Australian Ballet School, graduating with Honours and joining the Australian Ballet in 1999. Looking to expand his knowledge of physicality, Lucas searched for further professional experience in diverse genres, dancing with Opera Australia, Dance Works Rotterdam and Scapino Ballet Rotterdam in the Netherlands, amongst others, where he has worked extensively with innovative choreographers Georg Reischl and Marco Goecke over the last five years.

Lucas Jervies. Photo by Lynette Wills

A choreographic interest has lived with Lucas from the beginning of his dance training. In recent years he was invited to create for The Australian Ballet’s 2005 BodyTorque program and in 2007 he was asked to present a work in Korzo Theatre’s (Den Haag) Spring Awakening Festival. In 2008 and 2009 Scapino Ballet also invited Lucas to create works for Twools, their summer dance festival, and in 2009 he was invited to create for the Stuttgart Ballet’s Noverre Society.

Taking a short break from rehearsals, Lucas spoke with Dance Informa’s Rebecca Martin about his career and the premiere of Human Abstract by JACK Productions.

Are you still dancing or is choreography consuming your time now?
“I have had a lucky and fun career, being in the right place at the right time, and bringing a little Aussie flavour to the table to liven things up has helped!

Living and working in Europe has taught me a lot about life and dance but has also made me appreciate where I come from. The foundation The Australian Ballet gave me was so beneficial and helped prepare me for my journey overseas, but now nearly 12 years on I have only three shows left as a dancer with Scapino Ballet and then I will focus all my time on choreography and JACK. I will dance perhaps one or two more times in the next year before I officially hang up the ballet shoes. Hopefully one of those times will be at home.”

Lucas is a choreographer in high demand with multiple projects in the works.
“I am making a work for Scapino’s Twools program for the third time (a non stop dance initiative for invited choreographers that happens annually), which will premiere in June. I was invited again for Noverre in Stuttgart this year, which premieres a week after Twools. So I am creating two projects at once, both on dancers from Scapino as I’m too busy to travel to Stuttgart to create. I will travel to Stuttgart straight after the Twools performances with three dancers. The day after Noverre I will fly home to start creating for Human Abstract, JACK’s first production. I’m busy but it’s very exciting.”

How was the experience of creating a work for Stuttgart Ballet’s Noverre Society last year?  That has been the starting point for many famous choreographers.
“It was wonderful to be involved with such a historic and important organisation. The lineage of choreographers to come out of Noverre is very overwhelming and made me very nervous but I was warmly welcomed and the piece was received with great enthusiasm. The experience was something I will remember forever. The dancers in Stuttgart are extremely talented and dedicated and I made some wonderful new friends. I can’t wait to go back this year!”

In the company’s blog Lucas writes about the challenge of swapping leotards for suits. 
“To step on the other side of the business has been challenging but rewarding. We really have taken control of all the decisions ourselves, which has been liberating. Robert and Laura are both completing a Bachelor of Business so they bring fresh knowledge to business structure and methods. They have been both students and teachers (for Andrew and me) at the same time. We have had some wonderful support and advice from friends and colleagues and we hope to set an example on the rewards of building your own platform and an environment for enriching possibility. The set up of the company began in August last year and our collaboration has continued to flourish with excitement as we mould the company’s profile and direction.”

Human Abstract is inspired by the dark and moving poem ‘The Human Abstract’ by William Blake. The poetic atmosphere of the work emerges from a conceptual exploration of a specific theme rather than formation of recognised steps and style. It’s supported by a beautiful electronic soundscape commissioned from young Hungarian artist Adam Ster.

JACK Productions will premiere Human Abstract from July 7^th to 11^th at CUB Malthouse, The Merlyn Theatre, Southbank, Melbourne.

Make sure you get your tickets!

For Australian Ballet subscribers call 1300 369 741
For general public call 03 9685 5111

 www.jackproductions.com.au

By Kristy Johnson and Deborah Searle.

Australia once again voted, and we were left with two technically strong and beautiful dancers – Robbie and Jessie H. Season three of SYTYCD Australia was a hit, and the dancing was phenomenal.

Eighteen year old Robbie took the crown, with Jessie just behind. Dance Informa spoke with both dancers just after they were announced as Australia’s favourites.

Robbie was shell shocked to say the least. “Every time someone says ‘winning’, I’m like ‘oh yeah that’s right!’, he laughed.

But did he envision making it so far in the competition? “I took it day by day”, he explained. “My main goal was to get to the top 40. If I made top 40 and got cut before top 20 then that was fine, as long as I got to top 40. I thought that was a huge achievement for me, especially at my age. So that was my main goal. But when I got top 20, the goals just kept on coming. Firstly with top 20, then top 10, top 6, top 4, then top 2 and then…”, he elaborated.

Excited about her achievements Jessie said, “I couldn’t ask for anything better”.

Robbie and Jessie perform together

Robbie and Jessie, friends before the competition, were so happy to be the final two together. Jessie shared, “it was an amazing experience with such an amazing friend. To have someone there that you know throughout the whole thing is that little bit more comforting”.

With or without friends though, the competition this year was tough. Robbie found his height to be his biggest obstacle. “Everyone can see my height, obviously. All the girls were taller than me and people automatically just looked at my lifts every time to see if I could do them”, he revealed. “That was the one thing I had to work on the most in this competition”.  Jessie on the other hand found the top 4 week to be her biggest test. “I think definitely top 4 week would have to be the biggest challenge I had as a dancer, not only physically, but mentally as well.  That was a big, big week. It was probably one of the hardest experiences of my life to date”.

So how did Jessie make it through the competition? “To be honest, I think I kind of take things one step at a time”, she said. “I just want to get through one more round, and then I guess it just keeps on climbing. That was how I approached the whole thing because I didn’t want to live ahead of the times because the experience is incredible. There are wonderful choreographers and amazing dancing and to be thinking ahead of yourself you’re kind of missing out on what’s happening right now”.

Robbie is announced the winner!

But the competition wasn’t just a challenge, it was also an amazing experience for the two young dancers. Robbie relished the live audience. “My highlight would probably be the live audience, just the vibe that they gave us”, he said. “Every week was just so incredible.” Robbie found top 4 week to be a huge test also, but the audience helped him through. “At top 4 week we were literally at breaking point and at that rehearsal day none of us could have walked, let alone danced. When it came to the show we were just so worried we couldn’t make it, but the audience pulled us through”.

Jessie enjoyed performing for the audience also. “My highlights were performance night”, she said. “You always end up having that dodgy dress run but then it always goes better for the performance somehow”. Jessie also loved the group numbers. “I think every single group routine would have to be a highlight for me because that’s kind of the point when there’s no competition anymore, it’s just all of you getting together and learning an amazing routine with possibly Australia’s best choreographers and some that are even internationally acclaimed. That’s kind of like the ‘chill-time’ when we can all just get together and have a bit of fun”, she explained.

Robbie feels that the advice given to him by the judges has impacted him positively for the future. “I think the best advice (the judges) gave me was to stop, because in my head I acted like a boy because of my age. Straightaway when they told me that I had the capability to become someone else that I thought I wasn’t, I took that on board. I think it came out in my dancing and it improved me so much. I think that’s why I was in the top 2, because I took that on board and just moved on.”

But now that it’s all over, what do they plan to do? “I would absolutely love to take my part in the contemporary side of things”, shared Jessie. “This experience has just opened so many doors as some amazing choreographers have been on the show like Garry Stewart and Rafael Bonachela”, she gushed.

Robbie who was offered the option of several different dance company contracts has chosen to dance with Burn the Floor. “I worked with Jason Gilkison on the show and he is my absolute idol”, he shared. “He just got the best out of me. The Paso Doble that he gave Ivy and me really took me to the higher level that I needed to be”. And he couldn’t pass up the chance to travel to the US. “Plus there’s the free ticket to travel around all of America, which is a dancer’s dream! I definitely have to take that opportunity, especially at my age”, he said excitedly.

Short Sweet + Dance
Melbourne 2010 programme

Week One – June 16^th-20^th
Chapel off Chapel

By Regina Green.

Short Sweet + Dance:  What a great platform for emerging choreographers and a chance for all our dance graduates to get on stage. The inclusion of a People’s Choice Award is also a fantastic idea, and encourages the audience to think about what they’ve seen. This year’s first week in the second annual Melbourne season of Short Sweet + Dance was diverse and thoroughly enjoyable.

Blinding, choreographed by Kim Adams and performed by students of The Edge Performers School was an impressive opener, with seventeen bodies onstage. It was the biggest ensemble piece of the evening. The dancers had great stage presence, which was heightened by gothic-glam costumes and makeup, and dramatic lighting. Adams’ choreography is pleasantly unpredictable and fresh, and displays The Edge students doing what they do best – punchy, expressive, lyrical jazz-based movement.

Melbourne Dance Theatre choreographer and director Martin Sierra presented two pieces in the programme. The first, Death and Taxes, was a tender pas de deux between Sierra and Stacey Knight. Dedicated to the memory of a family member, this was a heartfelt number. Later in the programme came Slipped, which looked at the different meanings of the word. Sierra’s signature fluid, balletic vocabulary was unfortunately compromised by what appeared to be a lack of rehearsal as the unison was not quite there.  

Cubic, choreographed by Kathleen Skipp for Vital Organs Collective was a high-energy contemporary piece for three couples. With no obvious meaning to or connection between movements , it came across as just a display of technical feats. Some of the partnering was innovative and impressive, however it was too much of the same thing at the same energy level for too long, and just wasn’t ‘together enough’ to hold interest. What the dancers lacked in technique they made up for in attack. Reading the programme notes afterwards, I discovered the piece was based on the 1997 film Cube, which did in fact give it more meaning, as well as explaining the dated music choice.

Lenka Hughes and Tanya-Sue Uschinas choreographed (and performed, with Bazil Boyle) Examine 3.0, which was one of those pieces where the performers start in the audience, thus ‘challenging’ us. Civilians were plucked from the audience and given a giant picture frame to hold as the performers ran up and down the auditorium stairs to Pink Floyd’s On The Run. The dancers were full of personality and were committed to their idea.

Photo: Belinda Strodder

They Weren’t There, a solo by Caitlin Wheeler dealt with the highs and lows of a relationship and internal strength. Wheeler is a technically strong and beautiful dancer and her piece wouldn’t have looked out of place on an episode of So You Think You Can Dance.

For many, myself included, the highlight of the evening was Benjamin Hancock’s solo, Stain. Performed on a small rectangular rug under a single hanging lamp, and in a crazy white leotard that looked like a piece of modern architecture, this was easily the most original work. The soundtrack was minimal, as was Hancock’s robotic movement, which teasingly displayed, without exploiting, his incredible facility. Hancock’s intensity and focus gave weight and meaning to the tiniest finger twitches. Stain was mesmerising from start to finish.

Caroline Meaden and Alice Dixon choreographed and performed Contained, which was nicely lit and full of interesting, quirky movement, depicting ‘the state of waiting and anticipation’. Both women are beautiful dancers, however the choreography felt like two separate solos, and therefore quite disconnected. Maybe this was a deliberate choice in a nod to the agitation felt while waiting, but the piece failed to hold my attention. As a solo and with some more dynamic nuances I think it would have been more interesting.

I Think This is the End (But it Was One Hell of a Ride), choreographed and performed by Josh Mitchell and Kathleen Skipp aimed to dismantle a relationship by viewing it retrospectively. The separate episodes were linked by props – an old leather suitcase and a TV set complete with rabbit ears and static. The rock’n’roll type dancing and kooky French cocktail music of the first episode were a welcome point of difference in the programme, and while the dancers worked well together, some of the complicated partnering seemed a little heavy and awkward at times.

Home, presumably an excerpt from Stephen Agisilaou’s recent production, also explored relationships. The choreography  which was urban, jazzy and elastic, was performed with precision by a cast of five assured dancers. Home had a distinctive freshness to it, making it another highlight of the evening.

Hollaback Dance Crew performed the only pure hip hop piece of the night, which was entertaining but not sharp or original enough to set it apart from countless other hip hop routines that look very similar. However the dancers appeared to be having a ball so it was a nice way to end the show. 

Congratulations to the Festival organisers, choreographers, dancers and the technical team for putting on a brilliant show. Bring on Week Two!

Photos: Dance Photography by Belinda www.dancephotography.net.au

Opera Theatre, Sydney Opera House
Thursday May 27th

By Dolce Fisher.

In some ways Akram Khan is no longer a guest to our shores as he tours regularly, spoiling Australian dance audiences. On his most recent visit he presented a new work, Gnosis, at Sydney’s Opera House. Gnosis meaning, ‘in the knowledge’ was an evening of dance that combined Khan’s love of traditional Indian dance with contemporary dance, inspired by Gandhari, a female mythical character.

The program was split, with the first work performed in the traditional North Indian dance style of Kathak. A small group of highly skilled musicians accompanied Khan throughout the piece and were as much a highlight of the performance as Khan’s unique choreography and flare.

The choreography was fast paced and intricate, with many detailed minute movements throughout the upper body and very quick foot work. Khan showed us his finely tuned Kathak skills, speed and precision. This part of the evening was definitely a crowd pleaser for Sydney’s Indian community who packed the theatre.

The stage was very bare and the lighting was too simple, in my opinion. Use of more contemporary style lighting would have definitely added to the presentation of the work without detracting from the intent of the choreography.

The second work was a contemporary piece, but it still displayed Khan’s roots in traditional Indian dance. The choreography was full of emotion with a female dancer playing a blind woman. There was a unique bond formed between the two dancers through the characterisation and the choreography, and we were taken on an emotional journey. Once again there was so much detail in each movement. The movements were performed in perfect synchronization with the music and the sheer speed and clarity of the choreography was quite intense. Khan’s incredible technical skills once again shone. The chainé like movements he performed were ridiculously fast and he danced them in a circle with ease. I was more than impressed. The second work showed a simplistic beauty and was breathtaking.

Both works choreographed by Khan were so intimate that I believe they would have communicated better in one of the smaller theatres at the Opera House. The musicians performing on stage gave Gnosis an acoustic feel and it would have been enhanced in a smaller theatre, as the musicians were so far from the audience.

Khan definitely has a very unique choreographic voice and has something very special to share. His Indian dance style sways ever so nicely into contemporary movement and he is able to gel the two together to create something very original. I was able to appreciate both sides to Khan’s training and was impressed by the style in his contemporary choreography. The whole evening was a treat and was very well received by the audience.

Photo: by Richard Haughton

By Deborah Searle.

JaQuel Knight is a choreographer in high demand. After winning an MTV Music Award for Beyoncé’s Single Ladies music video, JaQuel hit fame, and at only 20 years of age the accolades keep coming. JaQuel’s credits include Beyoncé’s I am… tour, Britney Spears’ Circus Tour and American Idol amongst others.

Dance Informa enjoyed asking the young dance prodigy a few questions.

What is your dance background/training?
I do not have a formal dance training background. I always danced as a kid, mimicking music videos in front of the television. I didn’t start taking hip-hop classes until 2005.

How did you get your big break?
Big break?? I’m still not completely sure what my big break is. I assume Single Ladies is my big break. In a nutshell, I went to audition for Frank Gatson Jr. as a dancer for Michelle Williams, from Destiny’s Child. I did the combo and slate and then was asked to freestyle in the genre of ‘house’. I did that and Frank and Michelle both loved it. Later I was called to come in and give a few key steps/grooves, which led to co-choreographing the video We Break The Dawn. This then led to choreographing her promo tour. Then a few months later I received a call from Frank and he said, “Hey, I have this new Beyoncé song that I can’t send through email. Are you able to fly to New York tonight?” The song was Single Ladies (Put A Ring On It) and since that moment I haven’t stopped yet. Thank God!

You are known for your work with Beyoncé. What is she like to work with?
Beyoncé is such a great talent to work with. She’s a choreographer/director’s dream. Her passion, drive and hard work are all very inspiring and unreal. She pushes you to your limits as a creative artist and she will never settle for less. She expects her entire team to give their all, just as she does. She’s great! I believe she is the first human robot to walk on the earth. I have told her this! And then she’s funny and humble on top of all that!

Do you first conceptualize Beyoncé’s choreography and then take it to her directors for approval, or do you work with her and her team together to create the steps and overall look?
For video it all depends on the situation. For Single Ladies Beyoncé had the idea and concept in her head for the most part and I went in and made it hot and relevant. For Diva, we conceptualized everything and then took it to the director. With an artist like Beyoncé, there isn’t a ‘director’s approval’.If she approves it, then it shall happen.

Tell us about winning your MTV Video Music Award. What was that moment like?
Oh my, I don’t think I have yet to put the moment into words. It was divine. Something way above my own personal power and out of my hands. Definitely an amazing and great feeling! I shared it with my mother who at that point, I hadn’t seen in a while because of my work schedule. I flew her out to New York to be with me for the weekend. She was able to be around and observe my work. I was doing interviews, teaching classes, handling rehearsals and hosting events, and she was able to see it, finally. That alone was an award-winning experience.

In general, how do you come up with your choreographic concepts/ideas? Do all the performers you work with give you total creative freedom, or do they tell you what they want?
I come up with my concepts/idea by sitting and being totally inspired by the music. I’m a former musician, so I believe in listening and obeying what the music tells you to do. The choreography is done for the most part; you just have to listen to the music.  Obedience and discipline are key.

For the most part, I usually have a fair amount of creative freedom. It all depends on my role on the project. You have some directors who have props and ideas worked out already and they want you to come in and make sense of their ideas. Or you may have a project where they may say, “JaQuel, here is the song. I want you to go for it and give me you”. So it all depends on the project. But normally, at the end of the day when working for an artist, you want to bring their vision to life. When working for a director, you want to bring their vision to life. When you’re the director you have then the power to bring your own visions and thoughts to life.

Do you select the dancers that you work with? If so, what do you look for in a dancer?
When I’m selecting dancers, I usually look for those that can make sense of it and just get it. It’s more than the steps, that’s what I tell dancers I work with all the time. I can care less about the step, but when you get it and can make sense of what comes from within, YOU ARE HOT! A dancer’s job is to connect and make sense of the choreographer’s feeling and emotion. Not to come in and do what they think it should be.

What projects are you working on at the moment?
I am currently directing and choreographing for an European artist by the name of Safura. It’s something totally different than what people are used to seeing from me. It’s a more contemporary and technical job than the hip-hop, pop world work I’m usually associated with. I am very excited about that. I recently wrapped the feature film Burlesque starring Cher and Christina Aguliera, which will be in the cinemas on Thanksgiving of this year.

You have tasted success at such a young age, what is next for you? What are your dreams/goals?
I’m working on my own company and t-shirt line, FIFTY413 (FIFTY413.com), which is to inspire, encourage, and impact the next generation, along with developing a foundation, under the same umbrella. It will reach out to kids in the arts in small towns. There are a few other things as well. I am directing all types of things, along with producing and developing shows for television. As you can see, there’s a lot going on. There isn’t enough time in the day. I’m looking to inspire the millions!

JaQuel is represented by MSA Agency www.msaagency.com and Xcel Talent Agency www.xceltalent.com