Beckett Theatre, Malthouse, Melbourne
March 15 2013
As part of Dance Massive

By Grace Edwards.

An examination of physicality, in all its strength and vulnerability, Larissa McGowan’s Skeleton marks her first commissioned full-length work as an independent choreographer. Exciting, even unsettling, this intense and frenzied hour-long exploration of skeletal form and memory is best described as an ‘experience’.

McGowan offers us thought-provoking enquiries into our relationship with the objects of our childhood. Accidents and stolen moments with bicycles, baseball bats, and heels are physically ‘remembered’ and re-enacted onstage in slow motion and in reverse by the dancers. The objects break apart at key moments, and are removed or replaced by a fellow performer, drawing attention to the ways in which we experience and categorise these physical memories, distinct as they are from our memories of human relationships

Sliding black screens work like magic, as dancers suddenly appear and disappear from the stage like mental traces. The dancers pop, lock, jerk and pulse their way around the stage, making good use of gravity along the way, tumbling and slamming their bodies to the floor. Their movements frequently seem directed by the relative weights of their anatomical parts, such as the head, reminding us of the ways in which these subtle dynamics affect our movements each day and evolve as we age.

The ‘skeletons’ in this work are well-rehearsed and highly dynamic; whilst Larissa McGowan and Lisa Griffiths show a natural leadership stemming from their years of experience, the gender neutral choreography and distinctive personalities of the performers draw the eye equally to all and make for a truly coherent ensemble.

Many of the conceptual elements of Skeleton, from the jarring soundscape which mixes industrial and biological sounds from the outside world and film, to the highly physical choreography, are reminiscent of the work of Garry Stewart into which McGowan has undoubtedly also had significant input. It will be interesting therefore to see if McGowan will continue to explore her work within this familiar aesthetic framework or branch out in an alternative direction in years to come.

At times, the unrelenting, fast pace of the work proved a little exhausting and some light and shade in the form of some more intimate or introspective scenes would have been welcome. No doubt, however, this balance will be fine-tuned as McGowan grows more familiar with creating full-length work.

As it stands, nonetheless, this offering from McGowan commands one’s attention and is designed to take you along for the experience, setting the bar high for her future work.

Photo (top): Dancers perform Larissa McGowan’s Skeleton. Photos by Chris Herzfeld.

Arts House Meat Market
March 13, 2013
As part of Dance Massive

By Rebecca Martin.

I’ve been a fan of Stephanie Lake’s work for a couple of years now.  As a general rule, I am a bit of a purist when it comes to contemporary work and I like to see fluidity, line, and originality.  Lake’s work ticks all those boxes yet challenges my views and pushes the boundaries of contemporary dance, creating works that are almost like physical theatre rather than dance.

In her new work presented as part of Dance Massive, Lake presents a jarring exploration of personal and interpersonal relationships.  The piece works brilliantly on the stark white stage flanked by audience on two sides, encased inside an old meat market in North Melbourne.  On the night I attended, the seats were all but filled and the audience’s faces were clearly visible for the duration of the piece. Their concentration and attentiveness was evident.

Dual was a piece that had to have been created on the dancers given that the movements seemed to be entirely unaffected although obviously stylised.  I couldn’t imagine anyone other than Sara Black and Alisdair Macindoe being able to pull off the intricate steps or command the space in the way these dancers did.

On the face of it, the premise of the piece seemed familiar – the male solo was well lit and hyper energetic while the following female solo was imbued with soft light and fluid movements.  As the piece progressed, however, the audience was drawn into a more complex story that transcended what was expected.  When the two dancers met in the finale and combined their styles, they created a whole new vocabulary of movement and Dual really hit its stride.

The piece was abstract and physical whilst maintaining sensitivity and intricacy.

Stephanie Lake continues to shine.

Photo (top): Stephanie Lake’s Dual. Photo by Byron Perry.

Her Majesty’s Theatre, Melbourne
August 25 2012

By Grace Edwards.

In Australia, the public is fortunate to have a youthful, dynamic national company in The Australian Ballet, but it is always a treat to see an international company perform on our stages. Presenting the classic Sleeping Beauty, The Imperial Russian Ballet rode into Melbourne on high expectations, showcasing their own flair and style.

The principal dancers were technically assured. Nariman Bekzhanov in particular stood out as a dynamic and exciting dancer and Radamaria Nazarenko-Duminica’s Princess Aurora was careful and steady. Several of the fairies looked nervous whilst performing their variations, but this was no doubt due in part to fatigue from the company’s tight rehearsal and performance schedule. The company is performing in 25 cities and towns across Australia!

The relatively small stage on which the company performed at Her Majesty’s Theatre noticeably restricted the dancers, particularly in passages of leaps and turns, making it difficult for the dancers to really let go and do justice to the choreography. However, there were magical glimpses of the performance the company might have given on a larger stage, particularly in the third act divertissements such as the Puss in Boots pas de deux, in which performers showcased their great chemistry and natural cheekiness, and the Little Red Riding Hood/Grey Wolf pas de deux, through which the dancers displayed great flair for the dramatic.

The Imperial Russian Ballet is yet to perform in Wollongong, Newcastle, Griffith, Albury, Frankston, Geelong, Tanunda, Adelaide, Gold Coast, Brisbane, Caloundra, Ipswich, Toowoomba, Maryborough, Rockhampton, Mackay, Cairns, Townsville, Mandurah and Perth. For tickets and information visit www.russianballet.com.au

By Rebecca Martin.

State Theatre, Arts Centre Melbourne
May 30 2012

Ballet has certainly evolved in recent years, with classical companies employing more modern works and using edgier marketing techniques in an attempt to broaden ballet’s appeal.  Leading the renaissance is Rasta Thomas’ Rock The Ballet, which has returned to Australia, much to the delight of audiences nationwide who raved about the performances from the company’s last visit.

I was equal parts excited and apprehensive about viewing Rock The Ballet on their current tour.  I liked the idea of ballet set to rock and pop songs, I liked the idea of scantily clad men taking ballet to another level, and I liked the idea of ballet becoming more appealing to the general public, but I feared that the production wouldn’t live up to expectations.

Rock The Ballet started with a bang, featuring the Bad Boys of Ballet dancing a combination of jazz, contemporary, hip hop and ballet to the Black Eyed Peas’ I Gotta Feeling.  The song choice was a bit trite but the dancing was superb.  The men were masters of technique and had extraordinary energy.  And when Rasta himself burst on stage, the audience (including myself) went wild.  Justifiably so, as he is one of the best male dancers in the world and has shown great bravery by leaving the classical world of ballet and forging a new direction with this company.  The second piece was hilarious, clever, and showed that ballet can be so much more than tutus and tricks.  The men performed with blow up dolls which they partnered through many humorous scenarios in perfect unison.  One has to wonder how that idea came about…

Unfortunately, Rock The Ballet ran out of ideas soon after that.  The dancing remained brilliant and the music continued to be inspiring and entertaining, but the production could have been so much more.  Rasta’s wife and the sole female dancer in the ensemble, Adrienne Canterna-Thomas could have been utilised more in partnering work with some daring lifts and throws.  Although a strong dancer she seemed out of place and not integral to the overarching production.

Rock The Ballet is undoubtedly an entertaining night out and a revelation for not only ballet, but dance itself. The encore alone was enough to satiate even the harshest critic.  I just hope that the company’s next outing develops the ideas presented further.

Chapel Off Chapel
May 9 2012

By Paul Ransom.

As one of the new breed of young choreographers currently muscling their way onto the Australian dance landscape, Melbourne based Stephen Agisilaou has the daring and sheer entrepreneurial spirit to make it happen. His company, Vertical Shadows, is electric with youthful energy and their latest showcase is a celebration of their smash-together aesthetic, bringing contemporary, urban, Weimar cabaret and narrative grit into the same space.

At times sexual, often sensual, but always energetic, On The Rocks is brimming with creative vigour.

Having said that, we should concede that heavily narrative works can easily overcook themselves and On The Rocks does have moments where it looks a little overwrought. This tale of a recently separated woman finding herself in an eerily Lynch-like bar struggling with melancholy, moving on, and the temptations of alcohol, could have been more subtle, perhaps more visceral, in my opinion.

Photos by Matthew Denton, MDMedia

However, it could scarcely have been more enthusiastically rendered. Agisilaou has coaxed very committed performances from his cast, most notably from the sole female, Jessica Mortlock. The key trick here is the shrewd avoidance of simple, clichéd male/female juxtaposition and the development of character.

If Rocks itself could do with a little more ‘raw’, then the show’s opening vignette, the gorgeous pas de deux Crimson, is just about spot on. More obviously balletic, this is eight minutes of entrancing ‘avian’ courtship. (And beautifully lit birds they are too).

Overall, Vertical Shadows’ latest production ups the ante for Agisilaou. There is a growing confidence here, a willingness to stretch out and yet remain true to an individual vision. If this guy isn’t already on your dance radar, he should be.

Lyric Theatre, The Star
January 4 2011

By Kristy Johnson.

When it comes to a night of quality entertainment, Annie the musical ticks all the right boxes. The timeless tale of little orphan ‘Annie’ caters for both the young and old in a lavish and energetic stage production. Produced by John Frost, this is a classic musical about never giving up hope. Based on the popular Harold Gray comic strip, Annie burst onto the scene in 1977 and has been playing across the world ever since.

With a star-studded cast, the Australian production of Annie lives up to expectations. Anthony Warlow reprises his role as ‘Daddy Warbucks’ after the highly successful production of Annie in 2000. With a stella career spanning diverse performances, it was no surprise that Anthony brought charisma and a thrilling voice to the role. He is teamed with theatrical legend and stage veteran Nancye Hayes, playing the role of villainous ‘Miss Hannigan’, and the ever-versatile performer Todd McKenney, as Miss Hannigan’s con-artist brother ‘Rooster’.

Other standout performers include Chloe Dallimore who brought great comic timing in her portrayal of ‘Lily St Regis’, and Julie Goodwin with beautiful poise and an incredible voice playing assistant ‘Grace’. Even radio shock-jock Alan Jones took a shot at the role of ‘Franklin D Roosevelt’. It was an interesting choice to have Jones play the President, as his accent needed some work, however the radio personality seemed to enjoy himself on stage and carried the audience along with him.

Miss Hannigan (Nancye Hayes), Rooster (Todd McKenney) and Lily (Chloe Dallimore). Photo Jeff Busby

Siena Elchaar took on the role of ‘Annie’. Although she may not have had the strongest of voices on the night, she made up for it with a confident stage presence. Siena was backed up by a group of talented girls who played the orphans. All the girls seemed to carry off their roles with ease, and performed like true professionals. Their performance of ‘It’s The Hard-Knock Life’, choreographed by Kelly Aykers, was a definite showstopper. Ayanda Dladla, who played ‘Molly’ on the night, was adorable and proves to be a great talent already at such a young age. However, if you were to go by the reaction of the audience, then perhaps ‘Sandy’ the dog, was the real star of the show. Each time the dog came on stage the crowd erupted!

The sets and costumes did not disappoint. With each scene, you could see that an immense amount of detail had gone into the use of props, lighting and backdrops, and ‘Daddy Warbuck’s’ wealth came to life with a rather lavish set design to depict his New York mansion.

Annie has it all: a stellar cast, impressive set design and great comic ability. The production was a crowd pleaser, and is definitely one for the whole family to enjoy.

Top photo: Annie (Lucille Le Meledo), Julie Goodwin, Alan Jones, Anthony Warlow and ensemble cast.
Photo Jeff Busby.

Seymour Centre, The University of Sydney
January 2012
As part of Sydney Festival

By Linda Badger.

Set in what could be the tiny and obscure boxing gyms of backyard Scotland, Frantic Assembly and the National Theatre of Scotland brought their mesmerising physical theatre production of Beautiful Burnout to Sydney Festival.  

The atmosphere was set as we entered the theatre with trance-like electro music preparing the audience for what would be a very confronting journey; a journey through the intense psychology of the sport of boxing…the highs, the lows, the struggles and the wins.  With a stage almost in the round, interchangeable parts and a set you could hang off, this was sure to be a winner. 

However, even though the show boasted some incredibly phenomenal moments, these were juxtaposed by elements that were fairly average. There was a real contrast in presentation.  There were few standout performance moments, notably one by lead character ‘Cameron Burns’ (Kevin Guthrie), highlighting in the closing moments the physicality of his portrayal of the effects of an horrific boxing injury. This scene completely drew me in.  I can’t say there were many other moments like this though, which was not helped by a fairly under developed storyline.  There were snippets of how this world of boxing affects the people involved, their relationships and their worldview.  However, they were only snippets, with immature character and story development for all the ‘cans of worms’ that were opened.  There was neither lead up nor follow through, leaving us wondering why things were revealed but not validated. Each moment could have been interweaved throughout the story and resolved or unfolded, but instead they left us dry.

Choreographically there were a few really interesting moments. The movement was geared towards the non-dance audience. The choreography was very simplistic and literal. It was not an attempt at being too artistically clever or abstract, and was geared completely towards the characters.  The actors embraced this so well that we were not distracted by portions of technical dance movement. Each character was at the forefront of these moments, not giving us the impression that we were watching a jazzed up ‘dance break’, which was no easy feat for the performers.   

The soundtrack mostly consisted of electro and mood music, written by Underworld, who are long term collaborators with Frantic Assembly.  Structurally the work went from dialogue, to monologue, to movement, in a fairly repetitive pattern interjected with random moments such as characters hanging of the back drop having a casual conversation.  Not exploring much outside of this, the work seemed a little un-inventive.

All in all, the formula for this kind of production has been done and done, so it would be nice to see this piece developed further, with more room for some of the juicier parts of the story, and exploring less typical choices of soundtrack and structure.  It was enjoyable to watch nonetheless, with an intriguing subject matter. However, I believe the potential for this work has yet to be reached. Beautiful Burnout is still one to go and watch if you enjoy physical theatre.

Top photo: Beautiful Burnout by the National Theatre of Scotland and Frantic Assembly. Photo by Gavin Evans.

Playhouse, Sydney Opera House
January 2012
As part of Sydney Festival

By Elizabeth Ashley

While Nijinsky’s L’Après Midi d’un Faune may be 100 years old this year, it still packs an inspirational punch for  choreographers, dancers and other performers.

The original performance premiered in a storm of scandalous success to a 1912 Parisian audience eager to see the iconic Ballet Russes.  To its detractors in the dance world Nijinsky was accused of being “anti-ballet” when he delivered a performance that attempted to strip ballet of its sentimentality and stressed instead a feral, instinctive and coldly sexual quality.

These qualities seem to be the inspiration for choreographer Martin del Amo as he worked with renowned dancer Paul White to create their Anatomy of an Afternoon. Underplaying the mythical and classical elements of the original work, del Amo emphasises the natural and the animal that is in the dance. Also in this work, the mythical aspect of the faun, a strange creature of half man half goat is replaced with a meditation on the potential qualities of an afternoon with its mix of languidity, frustration and possibility.

Paul White’s solo performance is a marvel of animal magnetism as he captures the inherent grace of various animals from upright cassowary-type bird to slithering lizard and underwater squid. The juxtaposition of effortless animalistic grace with human form creates an uncanny sense of mythological faun and the beast inherent in man.

Without narrative or emotion, White holds the audience spell-bound as he evokes the native life forms of a forest conveying the heightened sensitivity of an animal in response to its environment.  From the hypnotic head movements of a snake charming its master to a satisfied cat licking its paws, White effortlessly fascinates us with the centrality of the body in the natural world. 

At times this bodily love is shown in a joyful, undressed and yet aimless running, perhaps conveying the excess of Nijinsky’s Faun.  Yet del Amo and White’s work is objective, studied and appropriately named Anatomy. The body’s centrality is performed with all the strength and graceful control that is Paul White’s forte, but in contrast to the introversion and self-absorption of Nijinky’s Faun, this creature is very much outward-looking. He gazes intently at the audience, proudly rippling his muscular frame and teasing us with a barely-covered pair of animal glutes.

Martin Bradshaw’s eclectic music, played by a small ensemble, attempts to convey the ‘elusive nature of the afternoon’. While there is a strong sense of the longing inherent in an idyllic Queensland afternoon it seems a touch too insipid to convey the rhythmic essence of the wild body.  The sense and mood of an afternoon isn’t helped by Matthew Marshall’s light and design on a bare stage, which while beautiful, suggests more of a moonlit forest rather than a sunlit afternoon.

Anatomy of an Afternoon may not instigate the same controversy as its predecessor, but it does provide a timely reminder that much of what is graceful is centered on the feral, untamed body and instinct; and it can still hold us spellbound. The Faun of the 21st century reflects our increasing fascination and anxiety about our relationship with nature in its various forms.

Sydney Opera House
December 2011

By Linda Badger

There are many advantages to creating a new version of something old.  Audiences are familiar with the old, and love to see the creativity that a new artist can bring to the original.  Graeme Murphy has created many brilliant, fresh interpretations of various classics for companies worldwide.  He has successfully managed to take on this new season in his career with gusto, and the critics have been raving about his work.

In December, Murphy’s adaptation of Prokofiev’s Romeo and Juliet was showing at the Sydney Opera House.  His long time collaborators shone throughout the work, with Akira Isogawa on costume design, Gerard Manion on sets and Damien Cooper managing lighting.  Isogawa’s costumes were stunning.  The use of colour, line, texture and concepts woven into each detail of every costume was art within itself.   It brought new meaning to each character, and freshened up the entire look of the production.  However, it felt at times like we were watching a fashion show. I felt major sensory overload.  The costumes were just gorgeous, but they completely overtook and distracted from the choreography itself.  It was a display of costumes with dancers in them, not costumes with the purpose of complimenting the choreography.

The most memorable performances were that of the characters of Romeo and Juliet played by Daniel Gaudiello and Leanne Stojmenov. Both wore fairly simple costumes, and therefore their movements were the focus. The company all danced well, but the dancing was just not as memorable as the costuming. This was highlighted with the addition of a random second wedding scene, set in a Bollywood style. This again was a chance to show off the talents of Akira Isogawa, but it didn’t necessarily add to the storyline, nor did it fit in with the cultural setting of the show.

One of the most interesting changes, although slightly out of context, was the addition of a holy man who married the fated lovers. He was portrayed as a Buddhist monk. Within the scenes that involved this holy man and his acolytes, we saw some of the most inventive choreographic moments. These scenes were mesmerizing, but they once again added a completely new culture to the mix, which didn’t really make sense. 

I wondered the purpose of all these additions? In this case the additions were not in line with the story, the culture, or the setting of the ballet. If in the program there could have been some explanation for the choices Murphy made, we may have been able to piece together this work a little more easily. 

Choreographically, Murphy’s use of motif for Juliet’s character was interesting. It seemed very well thought out and her interpretation of the role was undeniably realistic and mesmerising, taking us on her journey through the work seamlessly. Murphy’s reputation for bringing something special out of a dancer was brought to life in this casting.

The use of multimedia within the work was ingenious. With screens being an interwoven part of the setting, not an added extra, they helped make each scene come to life.

Death was added as a character, and he was fantastic, adding a new interpretation on the lead up to the character’s deaths.  He made cameo appearances throughout the work, and the context within which Murphy weaved him into the story was clever.  If every addition had this much relevance to it, it would have made the work that much better.

The most captivating scene was within the final moments of the work, where the two lovers both committed suicide to be with each other in eternity. Gaudiello and Stojmenov’s acting was realistic and they gave so much emotion in their portrayal of their characters.  It was an awesome scene to observe. It really drew one in.  In this moment the show took us back to the original version, and we were finally able to focus on the dance, the story and where the two were emotionally.  Notably there were not the distractions of extravagant costumes or sets. The dancers felt more tangible, and their movement and role-play was what stood out.

This version of Romeo and Juliet is one that audiences either love or hate, or walk away confused with all the ideas that are thrown at them.  I think Murphy definitely pitched this ballet at a contemporary audience. Lovers of the classic may leave the theatre feeling as if this revival was not justified.  There were so many great ideas and concepts, but not every idea and concept needed to be used to make the show great.  The original ballet was definitely in need of a revamp to make it attractive to the modern theatregoer who may not normally attend the ballet, so bravo to Murphy and collaborators for such a bold attempt at bringing to life a classic.

Photo: Kevin Jackson and Madeleine Eastoe of The Australian Ballet. Photo by Georges Antoni

Canberra Theatre Centre
November 2011

By Lynne Lancaster.

Perfect family fare, Cinderella is an excellent introduction to ballet for children, and WA Ballet’s rendition was a good, very serviceable production that had the packed audience entranced. I attended the matinee, and there were masses of little girls, dance teachers and grandmas who absolutely relished the show.

The ballet told the standard fairytale of poor Cinderella being horribly ignored and abused by her stepmother and stepsisters. Set apparently in the 1930′s, or thereabouts, the ballet began with Cinderella’s mother’s funeral, with everyone in black .The adult stepsisters were shown as beautiful on the outside, but dark within. This version conflated Cinderella’s real mother and the Fairy Godmother. The Fairy Godmother was assisted by garden nymphs and the characters of Faith, Hope and Charity who were three male dancers in spectacular costumes of blue, red and green.

For touring purposes a recorded Prokofiev score was used, accompanied by Allan Lees’ ravishing sets and costumes. Much use was made of a romantic, glowing full moon and Cinderella’s carriage was light, airy and filigree silver, complete with a couple of tiny attendant cupids! The dresses worn by the ladies for the Ball scene were beautiful and the sparkling silver and white tutu of the Fairy Godmother was worthy of Tsarist Russia. The way the long skirt of Cinderella’s white dress at the Ball rippled and fell flowerlike was fabulous.

Technically the dancing was excellent. Jayne Smeulders devised a work (her first full length) that impressively combines contemporary and classical ballet, using pointe and non-pointe work. It also particularly emphasised the female characters. There were allusions to Ashton’s iconic work and his A Month in the Country, especially at times with the fiendishly difficult, fiddly footwork and batterie.

As Cinderella, Anna Ishii was charming and delightful. We empathised with her from the beginning. She is a terrific dancer and performed some mesmerizing solos. She was believable both as the meek, downtrodden family servant and as the rapturous, unexpected princess-to-be who captures the heart of Prince Charming.

As Cinderella’s mother/Fairy Godmother, Fiona Evans radiated love, sweetness and appropriate authority in her battle against evil. Tall and distinguished, Benjamin Marett played Cinderella’s quiet, loving and disastrously henpecked father excellently. There were some very fine duets and trios for Cinderella’s stepmother and sisters and they had a wonderful time being horrid to Cinderella, hamming it up slapstick-like and display great comic timing.

As Prince Charming, immaculate in white and gold, Daniel Roberts was splendid. He is a fabulous dancer who coped easily with the difficult, strenuous choreography. He was full of the rather stereotypical poise and the elegance required for the role. The final pas de deux for Charming and Cinderella was joyous and enchanting, and had the audience cheering.

Prince Charming’s two younger brothers played by Mark Dennis and Andre Santos, were also very fine dancers, debonair in burgundy jackets. This company has some magnificent male dancers but the men were possibly under utilised in this production.

West Australian Ballet’s Cinderella was a charming, delightful performance for all the family.