The Space Dance and Arts Centre full time students
The Space, Chapel Street, Melbourne
25^th September

By Rebecca Martin

Presented by The Space full time dance school and led by student Jayden Hicks, the dancers themselves created, fundraised, publicised, produced and staged Exhibit – The Misconception of Dance.  Comprised of eight vignettes, the piece explores the misconceptions of dancers and delves beneath the surface of the industry to reveal that there is more to dancers than high kicks and lavish costumes. 

I enter the studios of The Space after emerging from a sea of disgruntled AFL grand final attendees, and I am comforted by the dark stillness of the space which is punctuated by candlelight and motionless dancers positioned like wax statues throughout the venue.  I make my way up the stairs and adjust to the change of culture (from bogans to ballet) and take my seat in front of a dancer in a black hooded coat upon a dais moving slowly as smoke swirls around her.  

The piece begins with little fanfare, but the audience is instantly enthralled as two dancers throw themselves around the stage and on the floor with great intensity to pounding electronic music.  I lean forward in my seat a little as the cloaked figure joins in the dance with mysterious and angular movements.  Next we see a ballerina in white perform classical steps while four others move around the stage in flesh leotards emblazoned with question marks and statements such as “who are we?”.  Despite the very classical appearance of the dancers, they move seductively and suggest that we should not judge a book by its cover.

The thumping sounds of a modern track by Rihanna bring to the stage dancers in black bondage style gear with masks that imply secrets and hidden identities.  By now I am really on the edge of my seat.  A queen figure, dressed elaborately as if straight out of a Tim Burton film, reveals her kinky and crazy side while the leather clad dancers swirl around her. 

Sia’s haunting track Breathe Me brings us a heartbreaking solo that confronts the audience with the ugly side of a dance career – fighting demons, addictions, doubt, and self criticism.  The solo dancer is joined by two dark figures that she initially fights before accepting that all dancers must live with their demons. She dances in harmony with them before being overcome and disappearing from sight.

She later returns to the stage blindfolded where the ballerina in white removes the cigarette from her fingers and blindfold from her eyes, reminding her of why she dances and how easy it is to lose sight of what it is that we want and or of who we are. 

Jayden Hicks takes to the stage to tackle the question of sexuality that comes with the territory of being a male dancer. Hicks is an accomplished dancer with excellent classical technique which is apparent in his fluid movements and elegant extensions. 

The subject of eating disorders is approached with the dramatic use of blood stained finger tips and black shadows following the dancers’ every move.  This section shows the audience the anguish of every dancer as they are confronted with the temptation of food and alcohol and must decide what they want more – to give into temptation or fight on and succeed in the industry. 

The final section of the piece sees the unveiling of the cloaked figure and with all the dancers on stage wearing white ballet outfits and moving as one with freedom and joy.  Mirrors on the side of the stage are swung around so that the audience is staring at themselves while the dancers leap and turn in front of the mirror. We come to realise that the people before us, are us and only the strong can survive in the dance industry.  The piece begs the audience to applaud dancers, not deride them.

Exhibit is a piece that not only showcases the talents of The Space full time dancers, but also the burgeoning talents of creator, producer and performer Jayden Hicks. It is an intelligent and visually impressive work that breaks down the barriers between dancer and audience, and destroys stereotypes while opening the mind.  The dancers are fierce and competent, and they show their versatility through the fusion of styles presented in the choreography.

Published by www.danceinforma.com

Hairspray the musical has now opened in Melbourne and Dance Informa was there for the red carpet event.

Photos copyright David Wyatt. davidwyatt75@gmail.com www.capturingimages.com.au

Sydney Eisteddfod

University of NSW, Science Theatre
September 26

By Nicole Saleh.

The competition was fierce and the stakes were high at the Sydney Eisteddfod Dance of the Champions. Twenty of the best dance troupes from across NSW competed for a share of the $20,000 prize pool and performed to a packed house at the University of NSW Science Theatre.

The event was an outstanding night of extraordinary talent hosted by Lyrical Hip Hop dancer JD (Joel De Carteret), a top 12 finalist on the first season of So You Think You Can Dance. The program was entertaining and progressed swiftly through a variety of dance styles including jazz, contemporary, ballet, lyrical, hip hop, musical theatre and tap. It was wonderful to also see national dance styles represented including a Serbian troupe, and a young group of flamenco dancers.

Overall the choreography was fresh and dynamic, showcasing the agility and skills of the dancers. Each performance was better than the previous, and it was exciting to see the next generation of professional dancers in the making.

A defining moment of the competition was when the young performers of the Caper School of Performing Arts (Bella Vista) dedicated their performance to their parents. This recognition of the hard work and support that happens behind the scenes is the mark of true champions!

All Starz Performing Arts Studio take out the audience vote

As the evening progressed, the excitement and electricity on stage spilled into the audience who were given the hard task of voting for their favourite performance. With the prize pool split, $10,000 assigned to the jury vote and $10,000 to the audience vote, the pressure was on to decide which dance schools deserved this significant reward.

The results were announced and surprisingly the jury and the audience had differing ideas on who were the best. There were six prizes awarded with $5,000 for each 1^st place winner, $3,000 for each 2^nd and $2,000 for each 3^rd.

The jury awarded first place to Select Dance Co. (Moorebank).Their delightful and creative jazz routine was a tribute to the famous Marcel Marceau. Dressed as clowns, the troupe cleverly performed mime sequences to music and wowed the audience with their jazz and acrobatic skills. In second place was Dance Junction (Glendenning) with an entertaining tap routine that was both strong and rhythmical. Third place was awarded to Ev & Bow Full Time Dance Training Centre (Kirrawee) who performed an amazing contemporary routine. You could have been forgiven for thinking this group of talented dancers were already a professional contemporary dance company.

The audience voted in first place All Starz Performing Arts Studio (Peakhurst) who performed a captivating jazz routine. Mosman Dance Academy (Mosman) took out second place with an edgy contemporary piece and in third place was a strong performance by Brigidine College (St Ives).

If you missed out on a ticket to the Sydney Eisteddfod Dance of the Champions you now have a second chance to see this exciting showcase. A special broadcast is scheduled for Sunday 27^th November at 2pm on Network Ten.

Top photo: Select Dance Co.

Published by www.danceinforma.com

Playhouse, QPAC.
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.

Demo-N/Crazy

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

Her Majesty’s Theatre, Melbourne
September 2010

By Deborah Searle.

Mary Poppins lives up to expectations. It really is ‘supercalifragilisticexpialidocious’.

The Australian production of the Disney musical is Broadway quality with all that jazz. I beamed from ear to ear like a child and sang along with the songs as I immensely enjoyed the show at Melbourne’s Her Majesty’s Theatre. And yes, I would see it again!

The Cameron Mackintosh musical production of Poppins stems much more from the P.L Travers series of books than from the Disney movie we’ve grown up with. There are characters and storylines that I was unfamiliar with, but they all add to the production and create an interesting plot. Much to my delight we enjoy characters such as dancing statues, performing beautiful contemporary ballet moves, that we didn’t meet in the film.

The dancing statues are a great addition and my only gripe with this scene was the flat footedness displayed by dancer Mitch Fistrovic as the leading statue ‘Neleus’. He is a strong and capable performer, but at this performance he failed to fully pointe his feet and finish his lines.

The sets are ingenious and the staging is exceptional. Every scene is enchanting as if it is straight out of P.L Travers incredible imagination. Sets of gardens, roof tops, street scenes and the Banks’ house are designed brilliantly as they move in and out, and up and down into view.

Mary Poppins has so many highlights that it is hard to choose a favourite. The tap dancing chimney sweep scene, led my tapper extraordinaire Matt Lee as Bert, is incredibly entertaining with some fantastic surprises and clever choreography. Matt Lee was born to play Bert. He is perfect for the role and an assured musical theatre performer. His singing, dancing, acting and overall commitment are impressive. Verity Hunt-Ballard as Mary Poppins, like Lee, is ‘practically perfect in every way’. She suits playing Mary and is the ideal balance of formal, yet loveable. She is just brilliant. Marina Prior is a treat as Mrs Banks, with her beautiful vocals and Debra Byrne as the ‘Bird Woman’ is musical magic. The children, (Jane and Michael Banks) played by Hayley Edwards and Trent Heath at this performance, are incredibly talented. Edwards seemed to overact at times in her role as Jane, but is a lovely singer. Heath as Michael is adorable and an ideal fit for the role. He has a great future ahead in musical theatre.

The production builds from crescendo to crescendo and always keeps us engaged. As a dancer, I thoroughly recommend this musical as there are several fantastic dance numbers. A sign language inspired dance to Supercalifragilisticexpialidocious is a lot of fun and very creative. The concept was apparently suggested by choreographer Stephen Mear, whose partner is deaf. It is tricky for the dancers and must have taken hours of practice, but it was worth it. Re-performed at curtain call, the audience couldn’t help but sing and bop along!

Mary Poppins the musical is colourful, creative and full of surprises. Complete with magic tricks, a flying Mary and brilliant music, Mary Poppins is a must see for young and old. It was definitely a ‘spoon full of sugar’ for me on a raining, cold night in Melbourne.

For tickets and show times visit http://premier.ticketek.com.au/shows/show.aspx?sh=MARYPOPP10

Photos: David Wyattwww.danceinforma.com

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Arts Centre, Melbourne.  
11^th September 2010

By Brian Nolan.

With the Australian Ballet we come to expect perfection, and on the opening night of Nutcracker, it was somewhat of a surprise to see that the company did not quite live up to its standard.  Perhaps it was opening night jitters, a lack of rehearsal or unavoidable cast changes, but there were several slips and stumbles, an array of awkward casting heights and even the orchestra under Ormsby Wilkins sounded rather lackluster in interpretation and dynamics.

Nutcracker, as a ballet, should immerse the audience into the enchanting, magical imagery and fabrication of the fairytale. Peter Wright’s version of this ballet, I feel, lacked the wonder, allure and anticipation of other great Nutcrackers. The “ooohs and ahhhs” that are synonymous with wonderful costumes, glittering sets and magical moments failed to present themselves – to the point that when one did occur the audience did not respond.

Too many gratuitous characters hampered the opening scene in ‘Dr Stahibaum’s’ house as the odd shape of the set, along with the Christmas tree, furnishings, staircase and all the family and guests restricted the available space for the dancers. This was evidenced when Kevin Jackson, who was robust as the lead cadet, with his fellow trainees were hindered by the restricted stage area available.

Madeleine Eastoe was fantastic as the young ‘Clara’. She looked like a 16 year old but danced with the technical proficiency and artistry that defined her captivating interpretation. She had a wonderful girlish quality that made one double check the cast list to make sure it was in fact her. She was perfectly cast.

Damian Welch is developing as a character actor but lacked the substance or fascination for ‘Drosselmeyer’ and apart from the pyrotechnics, the magic really did not work either. His attendant Matthew Donnelly was far more convincing in his role as the magician’s assistant. Frank Leo was also well cast in his role as the butler.

Juliet Burnett’s stunning legs and feet were highlighted as the ‘Columbine Doll’. Ben Davis as the ‘Harlequin’ and Tzu-Chao Chou as the ‘Jack-in-the-Box’ were proficient in their roles. Laura Tong captured the dignity and maturity as Clara’s mother, but Jarryd Madden as the father looked and acted far too immature for this role. Colin Peasley as the Grandfather epitomized the true essence of a character dancer and although his role was brief, we finally relaxed into the true ambience of his magic on stage. Audrey Nicholls was the ideal Grandmother assisting Peasley with humour and dignity.

The transformation scene where the Christmas tree grew to gargantuan proportions delighting children, the audience and I, was superb, and a real piece of fantasy.

The entrance of the soldiers via the wooden box delivered the toy-like innuendo that it intended and the scene was capped off with some very athletic mice in the most preeminent mouse costumes ever! The fight scene was quite enthralling as the soldiers and the mice battled it out with Clara saving the day by defending her ‘Nutcracker’ (Kevin Jackson) and hitting the ‘Mouse King’ (Andrew Wright) over the head.

Amber Scott in The Nutcracker 2010. Photo: Jeff Busby

Adam Bull (standing in for an injured Robert Curran) emerged as the ‘Nutcracker Prince’ and he was superlative in this role.  He was elegant, charismatic and of true noble character. His assured turns, elevation and attention to detail are evidence of good training. Although the height difference between Eastoe and Bull was apparent, they danced as assuredly and composed as any. Their first pas de deux was elating and Eastoe’s joy of dancing with her transformed Nutcracker was evident.

Into the land of the snow automatically conjured up a dismal and dull expectation. The set was bland and uninspiring. The ‘Snowflakes’, whose costumes should be shimmering and glittering, instead were lackluster and bland and therefore failed to capture the wonder and enchantment of this scene. The choreography was fine, with some good dancing, but the lines were irregular, the dancer’s arms were not in unison and a few slips made it look like a cold and bleak winter’s day indeed.

As the ‘Snow Fairy’, Amber Scott was secure, strong and confident. She led her attendants and the Snowflakes with authority and assurance. The ‘Winds’ were untidy, messy throughout, their wigs looked so very out of place, and although it was somewhat ambitious, the 360 rivoltade sadly did not work.

Astride a giant goose, Eastoe took to the air in one of the few breathtaking scenes throughout the entire ballet. Arriving in the ‘Kingdom of Sweets’, sadly once again, one was disappointed with the set and backcloth, which reminded me of an obscure painting that didn’t quite fit in.

The divertissements in Act 2 were as varied as licorice allsorts as the dancers attempted to portray their roles and ignite some passion back into to the ballet. 

Laura Tong looked out of place against the dynamic duo in Jackson and Daniel Gaudiello. The lads were fiery and feisty with fantastic style and panache. In contrast, Tong looked too tall against the boys, and her costume, apart from being dull and dreary made her appear slightly kyphotic.

Robyn Hendricks as the ‘Arabian’ was breathtaking. Her supple body, divine legs and feet were a joy to behold as was her eye line and her haughty manner. Her attendants’ bodies and costumes were striking, but they were so out of time and sync with the simple opening walk that it put me on edge the whole time.  

I have seen some good versions of the Chinese dance, but despondently, this was not one of them. The costume was plain and boring as was the repetitive choreography (too many double retire sauté and Cossack jumps to second).

The three Russian dancers were also bland and monotonous. With the mishaps that occurred on the night the lads did not appear well cast at all (again too many Cossack jumps which appeared to be the theme of the night). I think the music may have contributed, as it was slow, uninspiring and rather drawn-out. It also lacked the energy and excitement that one has come to expect from this piece.

In the ‘Mirlitons’, Reiko Hombo looked so out of place height wise it was hard to fathom this casting, nevertheless, of all the divertissements, they were as a group far superior to the others. They also had wonderful tutus, impeccable line and unison, fantastic musicality and stunning faces that truly lit up the stage. 

Madeleine Eastoe joined in with some of the divertissements, which again highlighted her incredible ability, and like a young schoolchild she was inspired to dance by those around her. Her entrechat six’s were astonishing and I am sure the envy of many females and males alike!

In the ‘Waltz of the Flowers’ Lana Jones was simply astounding. A flawless technique, wonderful musicality, impeccable balance, glorious legs and articulate feet emphasizing her lovely line all accumulated to exalt her role as the ‘Rose Fairy’ to an elite level. She was ably assisted by her four Consorts (Killion, King-Wall, Davis and Hawkes) who individually and as a group danced with princely attributes. Her leading Flowers also supported Jones in a very well performed Waltz.

The grand pas de deux saw the ‘Sugar Plum Fairy’, Lucinda Dunn, demonstrate why she is one of Australia’s leading principal females. Although her partner Adam Bull was at the opposite end of the height scale, they both danced with nobility and the graciousness of the pure artists that they are. Wearing wonderful costumes, the pair invited us into the true essence of the Nutcracker spirit. Although the pas de deux was performed well, it did however lack some of the excitement and dynamics in choreography as the music built up to crescendo. The reverse fish ended up being horizontal and Dunn needed to be tilted down for correct effect.

Adam’s variation was fantastic. His double sissonne en tournant was sharp and crisp, and although his beats weren’t great, his lovely stretched line and extended jetés, along with impeccable musicality, demonstrated his extraordinary ability as one of Australia’s leading men.

Lucinda Dunn’s Sugar Plum variation was simply charming and pure in musicality, dainty and graceful.  Her gargouillade showed correct rond de jambe with the first leg and all was executed with obvious ease and confidence.

The Australian Ballet has some truly extraordinary dancers with so much to recommend. From the elite principals down to eager talented corps de ballet, their obvious ability was demonstrated in the performance. However, with a few odd moments here and there, this Nutcracker was not without its hiccups. I am sure that this will all be corrected for future performances.

Wright’s production, for me, didn’t have the intrigue and wonderment I wanted. It simply was not grand enough, especially with the costumes and sets. Sadly, the audience agreed as raucous applause of approval throughout the ballet did not exist.

Top photo: Madeleine Eastoe and Kevin Jackson The Nutcracker 2010. Photo: Jeff Busby

Published by www.danceinforma.com

Chapel Off Chapel, Prahran, Victoria.
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.

The anticipated 2010 Melbourne International Arts Festival is this month!
Running from October 8 to 23 in venues across Melbourne, this year’s festival includes some must see dance works. 

Australian Premiere
Michael Clark Company – come, been and gone
The worlds of classical ballet, modern dance and explosive rock music collide head on, yet coexist in perfect harmony in this exhilarating Australian premiere of Michael Clark’s come, been and gone, at the Arts Centre, State Theatre from Friday 8 to Sunday 10 October.

The playful and provocative smash hit of the 2009 Edinburgh Festival is set to be this year’s must see Melbourne Festival event. Created to celebrate the 25th anniversary of the Michael Clark Company, critically acclaimed come, been and gone is danced primarily to the music of the legendary David Bowie. It embraces the work of his key collaborators Lou Reed, Iggy Pop and Brian Eno as well as touching on some of his influences including The Velvet Underground and Kraftwerk amongst others.

Vertical Road. Photo: Richard Haughton

World Premiere Season
Akram Khan Company – Vertical Road
The internationally acclaimed Akram Khan Company makes its long awaited Melbourne debut with the World Premiere Season of Vertical Road at The CUB Malthouse, Merlyn Theatre from Tuesday 19 to Saturday 23 October.

Celebrated dancer and choreographer Akram Khan is known for bringing vitality and innovation to crosscultural, cross-disciplinary expression. His latest creation Vertical Road draws inspiration from universal myths of angels that symbolise ‘ascension’: the road between the earthly and the spiritual, the ‘vertical road’.

Khan has assembled a cast of extraordinarily talented performers from across Asia, Europe and the Middle East including Australia’s very own Paul Zivkovich and has worked with long-term collaborator composer, Nitin Sawhney, who has created a specially commissioned score for this thought-provoking piece. Balancing a carefully crafted structure and innovative lighting, Vertical Road has a richly diverse quality, played out through each performer’s different cultural interpretation of the human odyssey.

Dates: Tue 19 – Sat 23 Oct at 8pm
Venue: The CUB Malthouse, Merlyn Theatre

Haptic. Photo: Shin Yamagata

Australian Premiere
Hiroaki Umeda – Adapting for Distortion & Haptic
Digital sounds, neon-coloured lighting and minimalist movement combine to create a technologically charged world controlled by Japanese performer Hiroaki Umeda. Tokyo-based Umeda brings to Melbourne Festival two of his recent installations for body, sound and light, Adapting for Distortion and Haptic, playing at The CUB Malthouse, Merlyn Theatre from Thursday 14 to Sunday 17 October.

Umeda is a choreographer, dancer, sound artist and lighting designer whose work is minimal and radical, subtle and violent, and very much in touch with his contemporary Japanese roots. His movement style draws upon an eclectic training in ballet, hip-hop and butoh. A self-described pluridisciplinary artist, Umeda creates his work entirely from scratch; the lighting, music and video all devised on his laptop computer.

Distortion of time, change of movement and immobility are at the heart of Adapting for Distortion. Engulfed in computer generated sounds and optical effects, Umeda’s body seems to slowly fade away and go out of focus within the luminous lines and spirals, until it is a mere vibration, a shadow of its real self.
In Haptic, Umeda leaves behind computing and video projection to concentrate on the effects of light and colour. Beautiful bright colours shift and morph in relation to his fluid movements creating an exquisite visual and sonic experience. Umeda uses this performance to focus on the physical aspect of the perception of colour, not simply to show it, but to give substance to the relationship it has with dance.

Dates: Thu 14 – Sat 16 Oct at 8pm, Sun 17 Oct at 5pm
Venue: The CUB Malthouse, Merlyn Theatre
Warning: Loud Music, Strobe Lighting

For more information about the 2010 Melbourne International Arts Festival and ticket purchasing visit www.melbournefestival.com.au

Top photo: Simon Williams. Photo: Jake Walters

Published by www.danceinforma.com

Spring Dance 2010 

Drama Theatre, Sydney Opera House.
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

Chunky Move Studios, Southbank, Melbourne.
3^rd September

By Rebecca Martin.

Gideon Obarzanek’s Chunky Move presented its third production for The Next Move, which is a series of performances by up and coming Australian dance makers.  On this occasion, Stephanie Lake directed and choreographed Mix Tape – a piece about love.  Utilising songs and recorded interviews, and performed at Chunky Move’s own performance space in Southbank, Mix Tape was a very personal affair that explored the divergent emotions and experiences uncovered under the auspices of romantic love.

The blip of an old tape deck signalled the beginning of the audience’s journey, and as it sat perched on a bookshelf at the back of the stage, the four dancers (Sara Black, Rennie McDougall, Timothy Ohl, and Jorijn Vriesendorp) grabbed our attention by stamping their way barefoot into the space.   Stephanie Lake’s frenetic, nuanced, and challenging choreography suited the dancers who quite literally threw themselves into the work, and traversed the stage with great intensity and strength. 

Through the recorded interviews, we glimpsed the humorous side of love which helped ensure the piece didn’t get bogged down in the usual clichés associated with the subject matter.  Lake treated the topic with sensitivity and a fresh perspective, and the piece was saved by ingenuity rather than falling prey to the familiar tune of the theme. 

The use of songs allowed the piece to say a lot more than it could have with dance alone, and a highlight was Bob Dylan’s Shelter From The Storm which was the soundtrack to an excellent piece that saw the dancers wrap, unwrap, and weave in and out of rolls of paper as tall as they were.  Sometimes the paper brought them together, and sometimes it tore them apart, much like the theme of love. 

Mix Tape closed with a tempestuous storm which was a not so subtle metaphor for the difficulties of love, and it showed the dancers attempting to weather the storm before they were unfortunately beaten.  The frenzied finale which had the dancers tormented by their losses showed us that love doesn’t always last, but it is one hell of a ride.