Sadler’s Wells- Peacock Theatre, London
November 2011

By Lara Bianca Pilcher

Some Like It Hip Hop is an original and highly entertaining dance theatre masterpiece that is fun, fun, fun! This innovative production showcases company founder Kate Prince as the director but also as lyricist, co-choreographer and co-writer.

ZooNation attracts an audience to the theatre that is varied from long time dance lovers and children to even those who usually just watch MTV; attracted to commercial music and dance.

Many children were in the audience. It’s so refreshing that founder Kate Prince has made a family friendly show that will encourage many children to pursue the arts. The stereotypes of hip hop being violent and overly sexualised are broken and hip hop is portrayed in a way that creates a safe show for anyone to come and see.

The story hooks the audience in, continually introducing more dance characters and further evolving others. The live song and acting moves the company from a dance only company to a revue.

The number ‘Invisible Me’ was like a hip hop version of Chicago’s ‘Mr Cellophane’, showing an oppressed character. It demonstrates how hip hop dance can be fused with music to further evolve the dance narrative and allow dance to be a much more communicative theatre language.

I’m a big fan of clean comedy (believing that it takes more skill than reverting to toilet humor) and there are so many moments to make you smile. Natasha Gooden’s doll like face is simply delightful as the dance character ‘Oprah Okeke’. The dancers’ faces and acting skills move them beyond dancers alone into true performers.

The lighting design by Johanna Town, is intricately designed and sets by Ben Stones are well integrated. The sets are as big and transformable as any top West End musical. So often dance is executed on a rather empty and bland stage but not in this show, the sets move and are constantly changing. There is never a dull moment.

The music by DJ Walde and Josh Cohen is original, enhancing the dance communication. There is a symbiotic relationship between the movement and music, true to the foundation of hip hop in the 1970s in Bronx NYC.

The big numbers at the end are a bonus and the whole cast, including the vocalists each have a short freestyle solo, reminding us of the spontaneous and competitive nature of street dance. Many of the performers move with explosive speed and risky air-born lifts and flips. The show is simply invigorating.

Home Night Club, Sydney Australia
October 7 2010

By Chris Bamford.

Picture this: Home Night Club, hundreds of aspiring dancers and hundreds of performers – this is a carnival! The Choreographer’s Ball, held across the world, has been running in Australia for only a few years and is now more popular than ever.

The night is a celebration of dance and creativity. It’s an industry event showcasing some of the hottest up-and-coming choreographers next to established names and their crews.  What an opportunity for choreographers to display their work and for dancers to work with the industry’s best – and an awesome night of entertainment!

The only criticism of the night is that it starts so late. This show started at 10:30 pm and had 28 different pieces performed in three acts – equalling a very late night, particularly for a week night! 

MC Candice Rose did a great job of keeping our attention and getting the crowd revved in between acts. The first piece of the night was a highlight. From the guys at Ookina Management, this high energy piece involved some aerial stunts and a very talented 12 year old dancer. Detour presented an amazing hip hop routine that was precise, clean and crisp, and F8tion Crew also gave us an entertaining hip hop routine that ended with a high energy house section to Usher’s “DJ’s Got Us Falling in Love”. These two crews are definitely ones to watch.

Although there was a lot of hip hop, it was an eclectic night of styles. Tiana provided us with a very ‘bootylicious’ Dance Hall routine that had us all shaking our ‘tooshes’ and Juliet Vern’s contemporary number was beautifully pieced together and well received. Brad Green and Natasha Crane’s numbers showcased very clever choreography.

The night wasn’t without controversy, with a very sensual piece by Andre Fuentes that got people talking. I could hear mutters in the audience, but in my opinion it was done in good taste and was very entertaining. 

I have to make special mention of the Janet Jackson tribute number choreographed by three very talented artists: Daryl ‘Dmo’ Morante, Blake Waterhouse, and Melanie Hitchcock. A tribute to everything ‘Janet’, this show blew me away with the precision of the choreography and the dancers.

There has been talk of a Kids Carnival at the beginning of next year, so keep an eye on the Carnival website. www.thechoreographerscarnival.com

Lyric Theatre, Queensland Performing Arts Centre, Australia
September 30^th 2010

By Dolce Fisher

To be honest, I am completely biased when it comes to Don Quixote, as it is my favorite ballet. The last production I saw of the ballet classic was performed by the Australian Ballet with guest artist Ethan Steifel, so the benchmark was set high when I entered the Lyric Theatre to watch the National Ballet of Cuba’s rendition.

QPAC were a fabulous host for the company, getting into the Cuban vibe and offering a special Cuban bar outside the theatre complete with a live band and plenty of space to salsa. The venue worked well to set the scene even before the show began.

The ballet has a rich history, as does the National Ballet of Cuba, founded by the famous Alicia Alonso. This Don Quixote was choreographed by Alonso in collaboration with Maria Elena Llorente and Marta Garcia, after Petipa’s original version. The choreography felt like it had been adapted to show off the dancer’s Cuban flare and virtuosity, rather than the work being re-choreographed. I did, however, find the loss of the trademark fan in ‘Kitri’s’ Act 3 solo puzzling.

The dancers are some of the world’s best. Viengsay Valdés, playing the role of ‘Kitri’, stole the show. She performed with joy and vibrancy, truly bringing ‘Kitri’ to life, whilst displaying superb control and performing balances with almost super human strength. The dancers in the company seem to turn differently to us, executing multiple turns with such ease and control and truly finishing their pirouettes on balance. I want to know their secret! Valdés whizzed through her fouettés in Act 3 with triple pirouettes on every fourth turn with such ease.

‘Basilio’ was performed by Elier Bourzac. He danced the role well but lacked a little charisma for his character. The partnership created some amazing moments, particularly in the Act 3 pas de deux, where Bourzac let go of Valdés after a series of assisted pirouettes and continued unassisted for another four or so turns. The male dancers gave a praiseworthy performance in the bullfighters dance, showcasing their strength and agility. Amaya Rodriguez as ‘Mercedes’ and Yonah Acosta as the young gypsy in Act 2 were flawless.

Unfortunately I felt that the costumes and sets by Salvador Fernandez lowered the quality of the production. The set in Act 1 was too big for the stage and it encroached on the dancers, however, the sets in Acts 2 and 3 opened the stage and allowed the dancers to make the most of the space. The costuming, although it kept to the Spanish heritage of Don Quixote, at times was unflattering, particularly for the male dancers. The headdresses and the over abundance of lace were distracting and just too much for the eye. It would have been nice to see a more modern twist on the costume designs.

Overall, the National Ballet of Cuba’s Don Quixote was delightful. The company rightfully received many curtain calls, standing ovations and bravos from the packed audience.

So did the Cubans match my expectations? Yes, but for different reasons than I had anticipated. The dancers exuded an energy that just seemed to come deep from their Cuban culture, magnified by an ideal choice of ballet. Don Quixote is a perfect story to show their energy. The Spanish heritage of the ballet encapsulates the essence of the company itself and shows off dancers for who they really are. The virtuosity displayed, the steps and the execution were something we don’t see every day in Australia. Hopefully their next visit will take the company to more cities, so their Cuban energy can rub off on all of us.

Photo: Sadaise Arencibia. Photo by Jacques Moatti

Theatre Royal, Sydney
September 2010

By Nicole Saleh.

There was a sense of excitement and anticipation at the opening night of Jersey Boys at Sydney’s Theatre Royal. Could a musical that has won so many prestigious awards; a Laurence Olivier, a Grammy, multiple Tony Awards and a Helpmann Award for ‘Best Musical’, really live up to the high expectations of Sydney’s opening night crowd? Measured by the standing ovation received from the first to the last row in the theatre, the answer is a resounding yes!

Set in the 1960’s, Jersey Boys tells the story behind the phenomenal musical quartet Frankie Valli and The Four Seasons. We follow the lives of four boys from Jersey; Tommy De Vito (Scott Johnson), Bob Gaudio (Stephen Mahy), Nick Massi (Glaston Toft) and Frankie Valli (Bobby Fox) on their rise to becoming one of America’s most famous pop sensations. The show is structured into four seasons; spring, summer, fall and winter, with each actor taking their turn to narrate. We hear their individual perspectives on the series of events that brought them together and witness their struggles to ‘make it big’ in the music world. We experience the tragedy of addiction, jealously and cheating at the height of their careers, which ultimately led to self destruction.

It’s the rich and dynamic storyline combined with almost two decades of hit songs that makes this musical a success. Even if you weren’t born in the 1960’s, you surely would have come across some of their catchy jukebox hits including “Big Girls Don’t Cry”, “Sherry”, “Walk Like a Man”, “My Boyfriends Back”, “Who Loves You” and “Oh, What a Night”. Leading the sweet smooth harmonies is Bobby Fox, who provides an extraordinary performance in the role of Frankie Valli, hitting the high falsetto notes with ease. It is hard to fault any of the four lead actors who give an outstanding performance showcasing their exceptional acting and vocal skills.

Sergio Trujillo, the original Broadway choreographer, complemented the sensational music with simplistic yet effective choreography. This is executed with sharp precision, with all four actors never missing a beat. The production is well staged with the use of big screens bringing to life the changes in seasons. At one point the screens project footage of the group performing, creating the perspective that the audience is watching black and white footage of their performance on a television show; a very engaging and creative use of set design.

It’s easy to see why Jersey Boys is an international hit. Its recipe for success includes: a dynamic storyline based on a true story, exceptional singing, talented actors, precision dance movements and brilliant music that together makes for a highly entertaining show!

To find out more about this musical visit www.jerseyboysaustralia.com.au

Playhouse, QPAC, Australia
Review of Program 1
14-18 September,  Brisbane Festival 2010

By Elizabeth Ashley. 

The Baby Cubans
Brisbane had the privilege to present exclusively both the Ballet Naçional de Cuba and Danza Contemporánea de Cuba, affectionately nicknamed the ‘Big Cubans’ and the ‘Baby Cubans’, as part of its 2010 festival line-up.

Both companies formed during the revolution of 1959, but while the ‘Big Cubans’ have enjoyed world-wide acclaim for many years, it was not until international choreographers were commissioned to collaborate with Danza Contemporánea that the ‘Baby Cubans’ gained enthusiastic recognition outside of Cuba.

Audiences experienced this collaboration in Program 1 with Demo-n/Crazy by Rafael Bonachela, Carmen by Kenneth Kvaström and Mambo 3XXI by Cuban choreographer and dancer George Céspedes. In Program 2, Carmen is replaced by Jan Linkens’ Folia.

Bonachela’s Demo-N/Crazy opens Program 1. The stark simplicity of minimally clothed dancers on a bare stage provides the perfect setting for the highly demanding and complex choreography. Tactile intimacy dominates – bodies embrace and touch, fold and unfold as relationships form and dissolve. Boldly the dancers launch themselves into space with an animal-like fatalism, leaving both dancers and the audience breathless. Bonachela explains ‘These dancers have the technique of Martha Graham with Afro-Cuban rhythm…they are totally fearless.’

Dance is the powerful medium of communication in this relational exploration that moves from poignancy to witty, camp comedy.

The title Demo-N/Crazy is a play on words inspired by the crazy recklessness of the Cubans and one of the soundtracks; Julia Wolfe’s ‘Arsenal of Democracy.’ This violin/techno music combined with the pathos of Estrella Morente’s flamenco soundtrack of ‘Ne me Quitte pas’ provides contrasting musical moods.

A perfect antidote to Bonachela’s dynamic intensity and grounded lyricism is the wonderfully entertaining spoof of the Spanish opera ‘Carmen’ by Scandinavian choreographer Kenneth Kvaström. Imagine a Paso Doble designed by a slightly mad, gay uncle who loves West Side Story.

The work is performed by 7 male dancers dressed in their best (and tightest) black pants, waistcoats and jewel-coloured satin shirts who parody card-playing, panatella-smoking, sex-obsessed Spanish macho-men.

The witty piece showcases the dancers’ versatility as they perform perfect classical arabesques, lunges and sweeping arms as well as bravado-style flamenco footwork,  cheeky hip-swinging and blatantly camp moves.

Appropriately, the closing performance, Mambo 3XXI by George Céspedes, is the most Cuban.  Remixing the music of Perez Prado with seventies disco, electronica and trip-hop creates a streetwise ambience – Mambo for the 21st Century.

It opens with geometric lines of dancers breaking into various patterns whilst accentuating the quick footwork of the traditional mambo. The distinctive Cuban body types and rhythmic facility are a joy to behold. One feels only a Cuban company could perform this choreography with the right balance of seriousness and natural abandon.

Throughout most of Mambo 3XXI all 21 company dancers are on stage creating a sense of rush; the crowded and public nature of modern life. Thematically the dance is the continuous search for relationships within that life.

Festival Artistic Director, Noel Staunton says ‘Danze Contemporánea de Cuba…write their own rules and dance to a completely unique beat and flourish.’  The ‘Baby Cubans’ are certainly the revolutionary face of Cuban dance and could well outshine the more illustrious ‘Big Cubans’.

Photos by Justin Nicholas

Published by www.danceinforma.com

Chapel Off Chapel
Prahran, Victoria,  Australia.
10^th September

By Rebecca Martin.

Allan Knee’s acclaimed Broadway production, Syncopation, finally reached our shores in September and had its Australian premiere at Chapel off Chapel.  Set in New York in 1912, the production saw its characters swept up in the ragtime jazz revolution of the day, and highlighted how dangerous and wild ballroom dancing was during that time, compared with the risqué and extravagant art it is now.

Featuring only two performers – Steve Mouzakis as ‘Henry’ and Emma Palmer as ‘Anna’ – and lasting for close to three hours, Syncopation is a demanding piece for both performers. However, they carried the piece with confidence and flare, without faltering or losing momentum.  With convincingly strong ‘Nooo Yawk’ accents and palpable energy, I was thoroughly impressed by the high calibre of their performances.

At times humorous, Syncopation tells the story of Henry, who has dreams of becoming a ballroom dancer, but alas, doesn’t have a partner to practice or perform with.  He places an advert in the newspaper inviting women to join him (scandalous!) and after much giggling and discussion amongst her work colleagues in a sequin factory, Anna arrives at Henry’s door to begin learning to dance.  At first, they are clumsy and awkward, and Anna is understandably cautious about Henry’s intentions (he isn’t allowed to touch her), but there is immediately an evident chemistry between the pair.  The initial relationship between them sheds light on the roles of men and women during the era which is amusing to watch, but sadly isn’t always so different even in our modern culture.  Their relationship evolves along with their dancing and their intimacy grows.  We see the characters face temptation, doubt, loss, redemption and joy as we follow the story of their evolution.

Ultimately, Syncopation is a story of spirit, determination, and hope against odds.  It is also a story about love and adding colour to your life, of courage and growth, and it shows us that dance can set you free.

Within minimal dancing and simple stage sets, there was little to distract from the story of Anna and Henry, and what a story it was.

Spring Dance 2010 

Drama Theatre, Sydney Opera House, Australia
Sept 2^nd 2010

By Nicole Saleh 

Savion Glover does not lie. He promised bare  sounds, and that is exactly what he delivered at the 2010 Spring Dance Festival at the Sydney Opera House.

Bare Soundz is 90 minutes of pure tap: no narrative, no props, no fancy sets. On stage there are simply three wooden platforms amplifying the beats of Glover, Maurice Chestnut and Marshall Davis Jnr. Reminiscent of a traditional jazz trio (bass, drum and keys), Chestnut and Davis start Bare Soundz by creating a consistent strong backbeat with their heel and toe taps, simply tapping with one foot to provide the strong bass. Glover takes centre stage, and with clearly articulated footwork he delivers a smooth melody, punctuated at times with strong staccato beats. When it comes to his performance it is evident that Glover’s rhythms permeate from within. At times he was clearly focused and performing in his zone, with eyes closed and a smile on his face that expressed sheer joy in the music he was creating with his feet. He captivated the audience to not only see the visual element of dance but to intently listen to the dance and be transported by the musicality of his rhythms.

Savion Glover’s rhythmical journey started when he was a young musician playing the drums. Growing up in a musically gifted family, Glover applied his skills to tap dancing. He is the talent behind the animated tap dancing penguin Mumble, in the film Happy Feet and is widely recognised today as the world’s greatest tap dancer. Privileged to have learnt his craft from revered tap legends such as Lon Chaney, Jimmy Slide, Chuck Green, Honi Coles, Bunny Briggs and Gregory Hines, Glover carries on today the legacy of these pioneering hoofers through his own works that push the boundaries of tap dance. 

What makes Glover’s show extraordinary is that it is never performed the exact same way twice. Glover calls this, Improvography; a combination of choreography and improvisation. When all three dancers are tapping in unison the timing is impeccable, as if you are hearing one tap dancer. When each dancer in turn takes the lead, they show their own unique style through improvisation. Chestnut has a distinct groove where he performs with strength and conviction in his solo, while Davis is reminiscent of the legendary hoofers tapping with speed and control, letting his feet do the talking. Glover is a brilliant technician who wowed the audience with his power and fast footwork, delivering clear intricate beats that are performed effortlessly. Wearing traditional Capezio black tap boots, and not his usual trademark green, he made sounds using every part of his boot from the inner and outer edge, to the soles, heels and toes. His boots are his musical instrument and there was not one part of his boot that he did not use to create a soulful tune.

A highlight for me was the jam session, when each dancer in succession took 16 counts to improvise and outdo the performance of the dancer before them. Trying to impress, Glover, Chestnut and Davis pulled out all stops with complex wings, riffs, shuffles, toe stands, slides and turns while never missing a beat. It brought out their competitive side as they stole each other’s steps and did it one better than the last dancer, which had the audience amazed.

Feeling inspired by the show, I had the opportunity of honing my own tap skills at an exclusive Tap Master Class with Glover, and this is when it became really interesting!

Glover didn’t position himself at the front of the class and lead a traditional warm up, nor did he teach a combination as we had expected. He opened the class by explaining that he no longer taught ‘steps’ as we all have a vocabulary of steps. He challenged our thinking and approach to tap dance, which became the premise of the 2 hour workshop. Glover walked around the class weaving in and around the dancers as he posed philosophical questions in relation to tap. He explored the theory, technique and musicality of tap dance, discussing timing, accents and the structure of steps, all of which are important technique tools for improvisation. His class was a journey beyond the realm of a combination. It was unlike any tap class I‘d ever been to, and I was left to consider whether we approach tap as musicians, dancers or both. What I enjoyed most was when Glover demonstrated musical concepts such as half time, single time and double time, and taught us how to create our own combination using the structure of “3 and a break”.

Everything I learnt from the class became more apparent when seeing Bare Soundz for the second time. It is extremely rare for me to see a show twice in one week, but I could not help going back for more to experience the brilliance of Savion Glover – 90 minutes of nothing but tap dancing and wonderful rhythmic sounds at its best.

A true creative genius, Savion Glover is an artist dedicated to his craft. He not only delivered an incredible performance to Sydney audiences, but has also embraced the responsibility of carrying forward his art form, sharing the musicality of tap dance to the next generation of dancers and reminding me of what the Bare Soundz of tap dance is all about….creating music with your feet!

Hear from George Miller, Director of Happy Feet, on Savion Glover
Click here

Photos: James Morgan

Published by www.danceinforma.com

Lyric Theatre, Sydney
August 2010

By Kristy Johnson

The Imperial Ice Stars have become familiar faces in Australia with their renditions of classic ballet favourites. In August we saw the European and National Championship Skaters back with Tchaikovsky’s Swan Lake on their two year world tour.

The Lyric Theatre at Sydney’s Star City was filled to capacity with young families (as expected) and the elderly, as well as a significant number of young adults, to my surprise. The crowd followed the classic story of Odette, a princess turned into a swan by an evil sorcerer, and Prince Siegfried, her lover. With a rich ballet history, Swan Lake is one of the world’s most famous and best loved traditional ballets, but this time it was being told in skates instead of pointes.

If you haven’t had the opportunity to watch the Imperial Ice Stars, expect a good dose of athleticism, stunning costumes and an on ice interpretation of an old classic.

The ice rendition of Swan Lake has been said to push the boundaries, but I don’t necessarily agree. Yes, a classic ballet has been spun into a contemporary piece for a younger crowd, but what was lacking for me was a fresh interpretation and something different from what we usually see.  

However the backdrop, setting and costumes were innovative and exemplary.  The lavish backdrops and scenery were designed by Australia’s own leading scenic designer Eamon D’Arcy. Albina Gabueva’s costumes did not disappoint either, with intricately cut, layered, and fitted outfits that allowed each skater the freedom of movement to perform the most complicated of steps.

All in all, the Imperial Ice Stars created a great visual treat for the eye, yet even with such a brilliant display of technical precision and athleticism, I’d rather watch Swan Lake performed in ballet.

Photo: David Wyatt

Published by www.danceinforma.com

Sydney Opera House, Drama Theatre
July 2010

By Lynne Lancaster.

Hofesh Shecter is regarded as one of the UK’s most exciting artists in both the music and contemporary dance fields, and after seeing his work Political Mother, I can understand why.

A shattering, powerfully explosive piece, this work should come with a warning that tells of the need for recovery time afterwards. Discussing power and oppression and how it can affect intimate relationships, the show opens with a Japanese Samurai committing harikiri to Verdi’s ‘Requiem’.

There is an intense partnership between the eleven dancers and eight musicians (four drummers and four percussionists). Ear plugs are provided, but even so we are almost physically assaulted at times by the overwhelming noise.

A solitary performer becomes a menacing, crazed dictator shouting mindlessly like a rock star whose words you can’t quite catch. There is an ominous Big Brother feel, with allusions to the Holocaust and war eras of modern history. There is also the theme of religious oppression and unarmed civilians attempt to flee the horrific events but are driven back to the violence.

Photos: Gabriele Zucca

Technically the dancing is extraordinary. You can see the Batsheva influence where Shechter once worked. The company has an incredible loose flowing ‘line’, and is soft, yet very controlled with great use of demi plie (possibly from the Mediterranean folk dance influence). There is a lot of ensemble work, with whirling, circling lines, interspersed with frenetic solos. At times there is Guerin-like twitching.

We see friendships and loving couples, and how this is destroyed by The Oppressive State. There is a sense of community of ‘the masses’ and how individuals can be controlled and terrorised by The State.

Scattered synchronic movements are broken by solos where people almost seem to be in physical pain. There are exultant dances of shuddering adulation where the dancers seem to lose their sense of self. 

For some sections the costumes are bright and colourful, but for the most part they are rather drab. 

Lee Curran’s lighting is an integral part of the show. At times the lighting is like a rock concert, and at others like a prison cell. Visually this work is superb.

To end, a Joni Mitchell song gave a gentler note of hope, for some. As did an orange sign saying “Where there is pressure there is folkdance”.

There are just so many layers of meaning in this work that it really needs to be seen several times to decipher them all. 

Political Mother is a challenging, confronting work about the horrors of war and oppression all depicted with artistic brilliance. It is a scary analysis of our modern world.

Birrarung Marr, Melbourne
July 2nd

By Rain Francis.

Circus Oz is wacky, sexy, hilarious… and old school! With not a shiny lycra unitard in sight, and a motley crew of eccentric characters, it has the raw, grungy feel of a Victorian circus.

Carefully crafted to appear haphazard and a bit bungled, there’s nothing raw about the work that’s gone into this show. The performers are world class, from amazing foot-juggling Hazel Bock and brilliantly bumbling magician Jeremy Davies, to gorgeous Rowan Heydon-White, balancing not one but two men on her shoulders.

The show, led by voluptuous ring-leader Sarah Ward, is enhanced by a clunky brass band reminiscent of Fosse’s Cabaret. Divides between acrobat and musician are dissolved as everyone in the show plays at least some of the music. The assorted instruments continue the kooky Steampunk style of the show: I don’t know the technical term for a tiny piano with organ pipes mounted on a tricycle, but it’s creepy-cool and I want one!

Special mention must go to the outrageously stylish Musical Director Carl Polke, who pulls focus several times with his dandy rock god meets Alice in Wonderland look. Viking hats, leather pants, crazy facial hair – this guy has class.

The Roller Disco was a favourite of the night, and continued the slapstick, faux-amateur theme. Other highlights included the trampolining kangaroos, eleven people on a bicycle and the “senior citizens’ hour of power”.

I found myself grinning like a child through most of the performance. This is a show rich in comedy as well as mind-blowing skill. The characters are loveable and there’s a down-to-earth, truly Aussie flavour to the non-gloss finish. I was surprised to see so many empty seats and made to wonder if we’ve been choosing Cirque du Soleil over Circus Oz. If that sounds like you, do yourself a favour and go see the local show. You won’t regret it.