Theatreworks, Melbourne
April 12 2012

By Paul Ransom.

There are many ways to review a show but most involve name dropping, encapsulation and a measure of what we might call analysis. Ultimately however, reviews are simply one person’s considered and (hopefully) informed opinion. This is no different. But for me at least Collide was.

Not that the two short works contained under that umbrella were ground-breaking in any way. Indeed, a dance cynic may well dismiss the programme as nothing more than standard issue, over wrought contemporary writhing. However, to do so would miss the point entirely.

Choreographer/director Paul Malek once told me that he was “a very intense person” and that shines through with Collide. Both these works (Freya List’s stunning debut Half Full and Malek’s passionate and conceptual Evolve) burn with introspective drama. Both are like a brooding Bronte sister novel; melancholy, dark, existential. Even a touch erotic.

Stepping away from the details though, Collide reminds us why anyone bothers to dance at all, for right there in front of us the dancers give us their blood by diving headlong into the moment and immersing themselves. Perhaps it is a kind of self-absorption – but it’s also utterly absorbing. And in the pews, everyone imagines themselves dancing.

Sometimes, the astonishing alchemy of music and movement transcends technique, and makes critique redundant. For this reviewer – on that night, in that theatre – the collision was pure elevating, emotional magic. By daring to feel, the dancers allowed us to do the same. By having the gall to dream up such intense (and gloriously minimal) vignettes, Paul Malek and the driven young people he works with remind us that everyone is a dancer.

Well, that’s enough of my middle age gushing. Go see the show … or at the very least keep an eye out for their next one.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events, dance reviews and resources for dance teachers.

Lennox Theatre, Parramatta Riverside Theatres
March 28 2012

By Linda Badger.

SuperModern: Our obsession with small shiny things, life in the fast lane, what’s in, what’s not, the constant hum of options, gadgets, social media, and multi-tasking that fills our world – the latest and greatest.

What a fantastic debut for a full length work for choreographer Anton.  Anton has been working as a dance artist, director, teacher and choreographer in the industry for the past 16 years.  His work SuperModern: Dance of Distraction premiered at the Parramatta Riverside Theatres on March 28.  Working with some of the best independent artists in the industry, this collaboration is the culmination of a development period that has been fuelling his creative practice for the past five years.

Dancers Kristina Chan, Timothy Ohl, Robbie Curtis and Sophia Ndaba, along with composers of the original score (Jai Payne, Nick Wales, Timothy Constable), and a fantastic creative team, brought together a work with so many layers that was refreshingly pure in its presentation.  The work did not rely on sensory overload, or elaborate sets, technology, costumes or props to communicate, it was the brilliance of the creative minds that brought it together.  The choreography was allowed to communicate for itself.  It is interesting that so much choreography today pushes the limits of what the human body can do. You can walk away wowed at amazing technical feats, but a true artist who is walking a carefully crafted, well-worn path in their journey will leave you with so much more, not purely a superficial layer.  Having watched both Kristina Chan and Timothy Ohl over the past few years it is so rewarding to see them sit really well in their ‘skin’ as dance artists, not just great technicians or performers (of which both are).  They have a maturity that the best training cannot produce – it has to be developed over time and with much dedication.  Robbie Curtis and Sophia Ndaba both performed excellently and it will be exciting to see where their journey takes them in the future.

Humorously presented for the most part, the work was very metaphorical, and each audience member would have had a ‘Choose Your Own Adventure’ experience with the work.  So many thoughts were presented, and with so many layers to those thoughts.  The work could be interpreted in so many ways, depending on what your relationship is to technology, your hectic or not so hectic schedule and what drives you. SuperModern could be watched multiple times with the observer always getting something fresh.   To me the show seemed to say that we are puppets of our own making. We are slaves to our own created technology. Are we controlling it or is it controlling us? Technology is laughing at us and playing games as we try to be a part of something that becomes increasingly a point of exclusion – the social media trap.  Constantly trying to fit in, go one better, presenting ourselves in all manner of ways, we lose our identity.  It’s such a great distraction from reality, to the point where even our own train of thought seems disjointed at times.

Use of “precise body articulation” as described by Anton, was a huge component. There was such detail to the choreography at times and then in some moments a real simplicity. At times the movement almost created a sense of illusion – where does the machine end and human begin?  Where does the idea of this invisible but tangible thing we call technology begin and human control get lost?  Anton uses the words “corporeal hyperbole” to describe it.  Yes, that is a great way to describe it.  What was so fascinating in his choreography is that the sense of watching an optical illusion at times was very strong, purely through the choreography, not through any technological trickery or effect – quite ironic considering the subject matter.

All production elements of the work were entirely complementary, including the input of lighting designer/production manager/co-costume designer Guy Harding, whose vast experience with dance and theatre is ever expanding and always impressive.

SuperModern could be enjoyed by the seasoned dance audience to those new to the world of dance and theatre.  The beauty of it was that it was so connective and relatable.  I send out a huge congratulations to all who worked on this project, including all the organisations who supported the work from its inception, particularly Ausdance and Critical Path. This work is not one to be missed!

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events, dance reviews and resources for dance teachers.

Stephen Agisilaou is no ordinary dancer. His idiosyncratic journey from ‘loungeroom’ dancer to company director is one of Australia’s most refreshing and inspiring.

By Paul Ransom.

The rules do not apply to everyone. Take Stephen Agisilaou. He started dancing at eighteen and now, barely a decade later, has danced professionally here and overseas and fronts his own company.

When Vertical Shadows’ two latest works, the pas de deux Crimson and the larger scale On The Rocks take to the boards in May, Artistic Director Agisilaou will once again be living his maverick dream of narrative driven, theatrically inspired contemporary dance. Although he may not be the first to try this particular sleight of choreographic hand his self-taught insights into the marriage of strong theatre storylines and the beautiful abstractions of dance will doubtless be sitting at the heart of both works.

“It wasn’t so much choreography that I enjoyed but directing,” he says, recalling the original idea behind Vertical Shadows. “I enjoyed coming up with concepts.”

As a template for getting dance productions up to speed it sounds upside down. “The chorey kinda comes last,” he cheerfully declares. “I really blueprint the story and the staging first before we ever get into the studio to choreograph. The direction is at the forefront; but because I put so much into the process of the story telling, the chorey sorta comes easily.”

Stephen Agisilaou and Jayden Hicks. Photo by Eddie Hobson

However, Agisilaou is adamant that it is still dance. “It’s not theatrical in the sense that the dancers are playing human beings with personalities,” he explains. “It’s a contemporary piece, so it is abstract. But we do give the dancers direction about character and motivation sometimes.”

For company dancer Jayden Hicks, who appears in On The Rocks, the extra character background is clearly useful. “It’s always better to have a thought behind the movement, either from yourself or given by the director. You need an inner story. Whether or not the audience can tell what you’re doing they can tell from your face that you’ve got intention, that you’re dancing for something and not just for dance.”

It’s an important distinction and something that Agisilaou keeps in focus as he tries to stay on the right side of the dance/mime line. ‘Character’ motivation and narrative intention are restrained by the desire to create non-literal and more emotional forms of theatre.

For a piece like On The Rocks the challenge is to find a way of letting the audience see and feel the heroine’s situation without telegraphing it. Jayden Hicks is confident that the back story will be evident. “With the high divorce rate now and marriage just so disposable, I’m pretty sure that the audience will get the idea of this woman contemplating a separation,” he begins. “Everyone can understand what she’s going through. Y’know, she’s wondering whether she’ll be alone, or whether there are other fish in the sea – all that stuff.”

Vertical Shadows dancer Jayden Hicks. Photo by Chris Parker

If that sounds like a crisis of middle age, Stephen Agisilauo’s “18-25” cast may well be fortunate enough never to have crossed such bridges. As their director though, he is less concerned with life experience and more about presence and potential. “Mostly I need the cast to understand who they are in any space, at any stage, at any time,” he elaborates. “The show is not the kind of show where they need to be military in the way that things are put together, or exactly the same at exactly the same time, but because they are a young cast the progression and development rate should be quite high.”

Meanwhile, Jayden Hicks offers the following insight. “He’s a great director in that he lets you feel that you helped him to create the show. I mean, it’s his way or the highway but he’s not obnoxious about it,” he concludes with a grin.

It’s been a remarkable ten years since his father casually asked him if he wanted to take dancing lessons. Agisilaou has gone from self-taught ‘loungeroom’ dancer to company director, via a stint with Move The Company in Canada and choreographic guest spots on SYTYCD. Sometimes it’s hard work and graft that pays off, other times its inspiration that wins out.

Laughing at his ‘boss’ Jayden Hicks simply says, “I actually started dancing before Stephen.” Now that really tells you something.

Win a Double Pass to On The Rocks!
Just email info@danceinforma.com and tell us “Why and When You Started Dancing”.
Please include your full name, date of birth and postcode. Good luck!
Competition ends May 4.

Vertical Shadows presents ON THE ROCKS
Date: 9-12 May 2012
Venue: The Chapel Chapel Off Chapel 12 Little Chapel Street Prahran VIC
Tickets: http://chapeloffchapel.com.au/melbourne-comedy-theatre-art/melbourne-events/melbourne-live-music/on-the-rocks-9-12-may/

Top photo: The dancers of Vertical Shadows. Photo by Chris Parker.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events

By Dolce Fisher.

Sydney Theatre
March 2012

2 One Another is the next contemporary dance installment from acclaimed choreographer Rafael Bonachela, but this time he collaborated with a team of varied artists. Samuel Webster was involved from the beginning, using poetry that was inspired by the dancers’ movement which later became text layered throughout the musical score.  The music was a compilation of artists with original music composed by Nick Wales. There was an eclectic selection with everything from beautiful strings to brash electro.

The costume and production design created by Tony Assness was full of contrast, but easy on the eye. Benjamin Cisterne’s lighting used a number of effects from a dimly lit stage to hits of stark white light. He only mixed in colour in the last section of the choreography.  A cyc replaced with a wall of LED lights covered with a thin layer of fabric softened the overall look.

Bonachela’s choreography held true to his style, despite him having a different creative team for this work. His use of raw movement developed from improvisation is something that many contemporary choreographers only dream of having enough time and funding to be able to delight in! Bonachela’s use of all the elements blended so well, allowing so much light and shade in the choreography.

Opening in silence with almost tai chi like movement, 2 One Another had a peaceful vibe to it. This was then cut by a surge of dynamic movement and light. The whole work ebbed and flowed with a series of solos, duos, trios and group work throughout, with each section having a life of its own.

This work displayed a few different partnerships that seem to be developing within the company. In one duet the contrast of height between dancers Natalie Allen and Andrew Crawford could have appeared as awkward, but it was very complimentary. Once again Chen Wen did not disappoint and his perfectly square arabesque line was enough to make any lover of technique go weak at the knees. His entire solo really showed off his abilities and had an edge to it that made him stand out. Some of the other male dancers seemed to lack the stage presence that is expected at this level of performance; something was missing.

There was a moment where it felt like the dancers were arriving at their destination and that all the elements were going to culminate to end the work, but then there was a new beginning. A whole new section started, with a duo introducing a pop of colour with red draped costumes, and the lightning changing from dim and white light to an array of vibrant colours.

2 One Another delved into relationships and human interaction, which is something we all experience every day. With this work the dancers’ interactions became their own lives recorded in the medium of movement.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

Launch Pad
Judith Wright Centre of Contemporary Art
February 2012

By Belinda Adams.

It is intriguing that so many people rush to see the latest international or interstate shows when they arrive in Brisbane, but little do the theatre going public know of the talent that exists in our very own backyard.

In a small performance studio in the Judith Wright Centre, Expressions Dance Company performed Launch Pad 2012. Featuring the work of local choreographers and dancers in an intimate setting, Launch Pad was nothing short of exquisite. They were able to create an environment that rivaled any large scale production with some simple prop changes and clever use of lighting.

The dance itself was raw, complex and brilliantly executed. Each of the choreographers had a chance to speak with the audience and tell the story of where their choreography began and how the idea evolved. This created a very personal experience for the audience and gave us an insight into the choreographers’ processes.

Gareth Belling, a Queensland Ballet dancer and choreographer created two works for Launch Pad. The first was From Darkness, a duet performed by Riannon McLean and David Williams that blurred the distinction between victim and offender. Watching this piece the dancers had you experience what they were feeling as they drew you into their story with raw movement and ultimate belief in their characters. The second Say Something, a piece performed by QUT dance students, explored the dynamic of broad based acceptance at the expense of personal opinion. This piece was energetic and fast paced with very contrasting choreographic choices. Overall, Gareth succeeded in creating wonderfully eloquent work for such a young choreographer. He certainly has a bright future ahead.

Bloodlust, by Claire Marshall was inspired by the movie Single White Female to start and further explored toxic friendships. Samantha Mitchell and Michelle Barnett performed this piece with total commitment and conviction. Both are very talented dancers who bought this rigid, intense piece to life.

The final performance was Crush by Lisa Wilson, performed by Elise May and Jack Ziesing. This was a debut showing for Wilson with EDC and she certainly delivered an amazing creation. Crush, portrayed the dancers struggle with panic and its contrasting manifestations of restraint and immobility. With the skillful use of varied LED light sources, Elise and Jack presented this piece with maturity and one hundred percent commitment to their personas. Elise is a striking dancer with a clear talent and skill for this demanding art form. This was an edge of your seat piece that had you breathless from start to finish. I can’t wait to see Lisa Wilson’s current work in progress entitled Lake. She is a transpiring choreographer who has a gift for creating quality work with a unique essence.

Launch Pad 2012, represents the true core of dance and perfectly showcases the talent that exists in Brisbane. This performance embodies what dance truly is – raw, powerful and honest.

Photo: EDC’s Jack Ziesing and Riannon McLean. Photo by Fiona Cullen.
Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

Theatreworks, St Kilda VIC
Jan 2012

By Paul Ransom.

It remains a mystery to me why Paul Malek is not a dance megastar. His energy, generosity and prolific output continue to astound; and Unanswered simply serves to confirm him as one of this country’s best dance visionaries.

Malek’s Unanswered is a simple, understated call for compassion and understanding. However, it achieves this without ever straying into pulpit thumping declaration. Instead, it employs a stark, loosely metaphoric approach, with eight dancers inhabiting a bare, minimally lit stage and a choreographic palette full of classical grace and restrained athleticism.

Inspired by the callous stoning of a black swan by a group of teenagers, Unanswered takes as its touchstones ideas about equality and acceptance and weaves them around a series of elegant, interlocked vignettes. With string driven Baroque music predominating, it draws upon the traditions of Comedia, mime and even acrobatics to create a whole that is at once high concept contemporary and loosely narrative movement theatre.

Paul Malek’s choreography here is definitely helped by his choice of ensemble. Ashleigh Perrie is magnetic – almost translucent – while around her Haydn Shadforth, Jack May and the rest of the eight are tight and suitably dramatic.

There is an undeniable virtuosity here, a bristling but sensitive energy that seems to allow Malek to simply pluck magic from thin air. Unanswered isn’t a revolution – much less a diatribe – but its stripped back styling, technical rigour and emotional engine make it resonate long after the dancers have taken their well-deserved bows.

By Kristy Johnson.

They already are familiar faces in the dance scene, however Stephen Tannos and Morgan Choice are yet to cement their status as choreographers of the new generation. This is all set to change when they bring their creative vision to life in Tannos + Choice: a cutting edge performance that So You Think You Can Dance judge Matt Lee describes as a “non-stop joy ride”.

Prior to their February debut, Dance Informa caught up with the pair to discuss how Tannos + Choice came about.

We’re excited to see your first live performance this month. Can you tell us what we can expect from the show?

Stephen
I think the main thing we hope you go away with after seeing our show, is a sense of empowerment and inspiration. You should expect a few surprise cameos and appearances, as well as a soundtrack that will blow your mind. Along with that, you should expect to see Morgan and my favourite dancers in the country kill it!

You have been likened to American power couple Napoleon and Tabitha. How does it feel to be compared to such icons?

Morgan
It’s a massive compliment! Both Stephen and I have been huge fans of their work over the years, not just as choreographers but also as dancers. Their work and achievements have been a constant inspiration for Stephen and me. One of their biggest achievements was the Emmy Award they recently received. Stephen and I hope one day we will also be that lucky.

Does Tannos + Choice seem like a natural progression? Has this always been something you have worked towards?

Stephen
I’ve always had a passion for choreography and knew that I had a point of view I wanted to voice. However, this was something I used to do by myself. After Morgan and I became a couple, it seemed like a natural progression to bring the two of us together as one force. It was not an easy thing to convince Morgan to get into this with me. She claimed she was “just a jazz dancer” and had no choreographic ability, which I told her was ridiculous!

Marko Panzic is producing the show. He seems to be on fire at the moment. How thrilled are you to be working alongside him?

Stephen
When Marko approached the two of us about his idea of producing a show for us, we were truly overwhelmed. Marko is an ‘ideas man’ and a huge inspiration to both of us. The fact that he wants to put this much time, money and effort into this project, is such a beautiful thing. Marko is producing and co-directing, and has so far put in a huge amount of input. Morgan and I really take in every single piece of advice he gives us creatively, and apply it the best way possible. Together the three of us can put on an amazing production, I’m sure of it!

Have you already received great feedback and support from your peers?

Morgan
Stephen and I have received phenomenal feedback and support not just from our peers in Australia, but all over the world. We are so grateful that people are respecting and appreciating the work we are producing. It was always a risk to try to create movement that is not commercial and a bit ‘left of field’. We are so happy we have been accepted.

What do you think makes a great choreographer?

Morgan
I think it’s being able to relate to your audience on a personal level. It is creating movement that people are going to watch and feel emotion. I respect choreographers that can make me feel happiness and joy, but I also love dancing something that makes me feel uncomfortable and sometimes sad. I feel like it makes you grow not just as a performer but also as a person. There are many choreographers that inspire me such as Wade Robson, Kelley Abbey, Jason Gilkison, Tony Czar and Erica Sobol. They have always been major inspirations to me, mainly because they are all so different yet still manage to let me connect and relate to what I’m dancing.

Why do you think the two of you work so well together as choreographers?

Morgan
Stephen and I have gradually found our niche when working together. We are both comfortable in what we excel at most, so now when we are creating we can produce better work. When working with someone so close, it takes time to figure each other out. You disagree and things can be hard, but you always get through it in the end.

Stephen
We make up for each other’s weaknesses and we have the ability to finish each other’s sentences creatively. We have strengths in opposite areas. My strength is finding music and creating visions, whereas Morgan’s is in translating those things into beautiful and expressive movement.

You can catch Tannos + Choice on February 22-24 at the Parade Playhouse in Sydney. Visit Ticketek for tickets.

Australian Dance Theatre is getting ready to present the world premiere of their new work, Proximity as part of Adelaide Festival this month. Choreographer and ADT Artistic Director Garry Stewart has worked with Paris-based video engineer Thomas Pachoud (with the support of didascalie.net) to create an astonishing dialogue for dance and real-time video manipulation.

Here Garry Stewart talks with Dance Informa about the creation of this exciting new work.

What research did you undertake to develop the work?

My reading has been centred on aspects of neuroscience as well as philosophy of the self and technology within performance.

Professor Ian Gibbins from the Flinders Medical Centre came into ADT to speak to us about aspects of neurobiology, particularly in relation to neurological body mapping and the function of the nervous system in perception. He subsequently invited us to examine preserved cadavers in his laboratory at Flinders Medical Centre. Some of the dancers and I also attended a lecture by Baroness Susan Greenfield on the neurobiology of creativity.

What is the idea behind Proximity?

To a degree Proximity is the convergence point between conceptual concerns rising out of two of my previous works: Held and Be Your Self. Aesthetically both of these works are wildly different from each other, yet in Proximity I have created a nexus between the intellectual parameters of the two. Like Held, Proximity involves the instantaneous reproduction of the live dancing body, but instead of through the media of digital photography, in Proximity it is achieved via video technology.  The dancers train video cameras on each other and this data is immediately transformed through the ingenious work of video engineer Thomas Pachoud. The imagery is projected immediately onto a series of large scale screens, constituting an instantaneous dialogue for digital imagery and the live dancing body. The interaction between the virtual and the real is the cornerstone of Proximity.

Photos © Chris Herzfeld - Camlight Productions

Moreover, Proximity is informed by philosophical considerations of selfhood – its underlying plurality and fluidity – as well as ideas from neuroscience on the process by which the body neurologically interacts with the world around it. Proximity renders visible our invisible connections between each other and the environment we inhabit whilst simultaneously splitting open the self to reflect upon its manifold and heterogenous nature.

In Proximity the subject of selfhood is considered from the position that we are subjects located within our own bodies, but through the doppelganger of video imagery we can see ourselves from the outside and at a distance. Proximity addresses perception and ways of seeing. The act of seeing is conditioned and trained. What our brain chooses to see from the limitless panorama of external stimuli around us constitutes a form of trained blindness. In Proximity the cameras are utilised as a tool to radically shift the frame through which we routinely and habitually engage in the perception of ourselves and each other. The body is re-presented in ways that release it into alternate visual and morphological possibilities.

Tell us about the soundtrack.

The sound score is being composed by Sydney based composer Hugh Benjamin. Hugh used to be a drummer in the 80s and 90s and played for Yothu Yindi, Debra Conway, Kate Cerebrano and many other artists. He has composed music for works I have made for Ballet Du Rhin and Birmingham Royal Ballet. Recently he composed the score for the ADT work Worldhood. The music is quite different to my other works which have been at times quite brutal and bombastic. The music for Proximity is much finer and detailed, soft electronica almost like a series of ambience sonic states rather than hard, beats driven music.

How have you found working with Thomas Pachoud?

I first met Thomas early last year when I was making a version of The Rite of Spring for the Ballet Du Rhin in France. Our collaboration together on this work formed the cornerstone of the video ideas we have pursued and evolved in Proximity. Thomas considers himself a video engineer not a video artist. He enjoys collaborating with artists and responding technically to their artistic ideas.

Thomas’ work is perfectly aligned with the conceptual pursuits of this work. The materials of the body itself are used to stimulate the production of video effects that surround the image of the bodies or in some way manipulate and alter the morphology of the image of dancers. Thomas’ real time video effects become a beautiful visual metaphor for the subject matter which centres on opening up ideas about the nature of self and the invisible neurological connections that exist between ourselves and the world around us.

Do you plan to tour the work?

The plan is to tour the work internationally early in 2013.

Make sure you catch Proximity at Her Majesty’s Theatre, Adelaide from February 25 to March 3. Tickets can be bought at BASS online or by calling 131 246.

Photos: Chris Herzfeld – Camlight Productions

City Recital Hall, Angel Place
January 2012
As part of Sydney Festival

By Elizabeth Ashley. 

Chunky Move with Artistic Director Gideon Obarzanek participated in the Sydney Festival 2012 with Assembly – a work exploring the dynamics of crowds in everyday life. Obarzanek’s fascination with ‘spatial and moving patterns’ is creatively worked through on a set of steep stairs, mirroring the sloped seating of the watching audience so that we come face to face with the facets and behaviour of various crowds.

While crowds in their various shapes and forms may be an unavoidable part of modern life, Obarzanek reminds us of their intricacies, uniqueness and creative force. Assembly, as the name of the work, reflects the vision to assemble something en masse that transcends our individuality. Obarzanek’s assembly of various dancers and choristers, integrating voices and movement into a harmonious whole is the highlight of this work.

Dancers from Chunky Move collaborate with singers from the Sydney Philharmonia choirs to explore the way a crowd affects individuals as well as creating a life of its own.

Unexpectedly and refreshingly, Obarzanek does not delineate the dancers from the singers – the variety of ages, body types and ways of moving endears the audience to this ‘crowd’ and somehow includes us in the process.

As 60 performers climb the stairway, set to take their opening position, a question is nagging – “But where will the dancers dance?” Then they all start talking loudly, gesticulating as if they were all telling you their life story. It’s not until the mass separates and walks purposely in intricate and highly structured patterns up and down and across the structure that we realise the dancers are lost in the anonymity of the crowd.

Seamless integration of voice and body allows Assembly to explore the many types of crowds in modern life, from raucous football games to audience participation, to queuing, trend-following and the alienation of cityscape bustling. In this work the standout performance is no particular individual but the group entity itself.

The space is well-used and has the ability to show the depth and shape of crowds. We see the ebb and flow, creating an almost 3D effect. We no longer see the crowd as a chaotic mess but rather as one mass, constantly forming and reforming patterns as the individuals interact and disperse – an embodiment of a creative entity that is greater than the sum of its parts.

The choir must be applauded for their absolute commitment to their roles not as singers but as performers, executing phase-shifting sequences as well as rolling and slithering head-first down the stairs. Equally, the Chunky Move dancers handle the challenges of shoulder rolls and pas de deux sequences on a stairway with skilled control as well as performing percussive and resonating falls due to the pushing and shoving nature of crowds.

The combination of mass bodies in motion with voices singing in unison is a masterstroke of creative envisioning, allowing the work to capture the contradictory experience of the crowd or assembly.  The anonymity and earthbound nature of the dancing bodies is contrasted with the ethereal quality of the voices that suggest a juxtaposition of mind/matter and subjection/transcendence, as well as the themes of fragmentation and wholeness.

Assembly is an uplifting and refreshing collaboration that engages the audience, elicits laughter, spontaneous applause and recognition. Echoing a review from The Age, Assembly is “meditative, mesmerising and existential”, and extremely rewarding.

Photo by Jeff Busby.

Leigh Warren and Dancers’ Christmas came early in December with the confirmation of two of its major dance works programmed for the prestigious Edinburgh Festival and New York’s SummerStage festival in 2012.

Despite the recent decision by the Australia Council to cut the company’s triennial funding, Leigh Warren and Dancers continues to rise to great heights, both nationally and internationally.

After an extremely successful 12 months that saw the company collaborate with some of the world’s most talented artists and stage acclaimed performances to thousands of people in three major Australian festivals (WOMADelaide, OzAsia Festival and Brisbane Festival), LWD Artistic Director, Leigh Warren, says 2012 looks like one of the most exciting years to date for the company.

Leigh Warren & Dancers presents Maria de Buenos Aires at Brisbane Festival 2011. Photo by Tony Lewis

“Looking back on our audience numbers and the quality of work we produced, I honestly thought 2011 was a watershed year for the company but looking at what’s in store I think we’re in for an even more remarkable year,” he said.

“To be invited to play Edinburgh Festival any year is a wonderful validation of one’s artistic value on an international scale but with it coinciding with the London Olympics, 2012 is a landmark year for the festival so we couldn’t be more honoured by the invitation. And SummerStage is one of the most exciting arts festivals in the most exhilarating city in the world, so I’m absolutely thrilled to be invited back to perform in New York again.”

SummerStage is New York’s largest free performing arts festival with over 100 performances in eighteen parks throughout the five boroughs. Performances range from American pop, Latin and world music to dance, spoken word and theatre. Since its inception twenty-six years ago, more than six million people from New York City and around the world have enjoyed SummerStage.

Leigh Warren and Dancers will be performing their major work Breathe at both the Edinburgh Festival and SummerStage. This work, choreographed by Frances Rings, premiered at WOMADelaide this year. Without the constraints of the stage at WOMADelaide, the Edinburgh and NYC performances of Breathe will take the work to another level.

The globally acclaimed and award winning contemporary dance company will also soon announce a new Adelaide season for May 2012 in addition to their international touring commitments.

Top photo: Choreographer Leigh Warren. Photo by Alex Makeyev