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.

Sydney Theatre
October 2011

By Dolce Fisher

Sydney Dance Company’s second installment for the year was the Land of Yes and the Land of No. Originally commissioned for Bonachela Dance Company in 2009 and receiving international acclaim, Australian audiences had the pleasure of delighting in its artistry.

Inspired by traffic signs and the way we navigate through our lives, the work was expanded from a cast of six to ten for the SDC production.  It was full of a myriad of motifs and embellished with canon upon canon. Bonachela is truly a creator of choreography of mathematical proportions. Some sections contained so much intricate detail and were executed with such precision, that it made me think twice about the movement I’d just witnessed.

Opening with an emotional solo performed by Charmene Yap she left the stage looking back, choosing to walk a different path in life, reminiscent of Robert Frost’s The Road Not Taken.  Other highlights were Chen Wen and Natalie Allen’s childlike flirtatious duo and Richard Cilli’s intense solo.

The lighting design by Guy Hoare created a maze of fluorescent light structure, changing and creating doorways and patterns. The light often took shape like the directions on my GPS direct the way I should travel.

Theo Clinkard’s costuming was a hit and a miss. The women were styled well with a very feminine edge that really complimented the movement. On the other hand there were male dancers in shorts which allowed you to see the lines created, then others were dressed in massive pleated pants which hindered the choreography.

The work was set to the music of Ezio Bosso and it had a similar emotional quality to that of other Bonachela/Bosso collaborations, but this score had more light and shade.  One beautiful section featured just the piano and the plucking of strings and others included vocal chanting and brass instruments. After seeing the partnership of Bosso and Bonachela develop it will be interesting to see how Bonachela’s choreography will diversify in 2012.

I give a ‘Yes’ to amazing, inspiring and beautiful!

By Dolce Fisher

Currently showing at Sydney Theatre, Shared Frequencies is a performance by Sydney Dance Company of two world premieres by renowned contemporary choreographers Rafael Bonachela and Jacopo Godani. Dance Informa’s Dolce Fisher spoke with the talented pair whilst they were developing their new works in Sydney, to get the scoop on the 2011 company, the choreographic process behind their creations and what we can expect.

Rafael Bonachela
How have the new company members been received so far?
Amazingly! There is nothing but praise for the dancers in every direction, from all the patrons of the company, the press and the audiences. We’d been in Brisbane and Melbourne and all the feedback was great. This is a contemporary dance company and the dancers are so highly technically skilled and trained – sublime really. To their credit they are very focused and committed and we are all here for the right reason and on the same page, because at the end of the day people pay to see us and they’ve got to get the best!

Tell us about your new work LANDforms, performed to a new score by Ezio Bosso
The dancers were really involved with the birth of the whole work from the very beginning. Earth was the first word I had, that’s huge, and then came lots of talks with musician Ezio Bosso. I showed him maps, books and hundreds of pictures of landscapes that all brought on lots of memories from the dancers and lots of thoughts, triggers and feelings. After ten days, with lots of things in the frying pan, we decided that LANDforms would be the title of the work. The dance would be the landscape and the music would be the weather elements.  It starts with the sunrise and ends in the night. It’s a journey but is pure dance and music inspired by the landscape. Ezio is playing live, which will enhance the whole work.

So how did the invitation for Jacopo Godani come about?
I had known about his career under Forsythe. The first time I saw his work was a piece that he did for the Royal Ballet in London. I was like ‘WOW’! But at that time I had never met him. I had heard about the work he was producing for Monte Carlo Ballet and his work that pushed the boundaries of ballet.  Bonachela Dance Company was performing the last season in the Venice Biennale and I was already here in Sydney. Jacopo saw the dancers and he thought they were amazing and wanted to work with them. I was so thrilled that he was excited about working with my dancers. I was able to return to Venice for a conference and then I finally meet Jacopo Godani. We just clicked because we come from the same generation of dancers; we know many of the same people. I thought it would be amazing for him to work with the company. He had never worked in Australia. He works for the best companies in the world so he has really pushed the dancers in a way they have never been pushed before. His work has attitude and a sexiness that I think Sydney will relate to.

Jacopo Godani
What is the inspiration for your new work that you have created for Sydney Dance Company?
It’s difficult to say because I didn’t come with a preconceived idea. I needed to get to know the dancers first and figure out what I could do. It is definitely a piece that is a lot about human evaluation; where we are at and how far we could go with our potential. It’s an abstract piece. When you have an opportunity to do an original piece I feel it must be entirely original. I have the freedom to develop something unique. I try not to relate to any pre existing concepts or ideas, but imagine that I am creating an abstract sculpture.

Basically the content is about humanity, not the population, but what it means to be human and analysing the human content to see how far it would lead you, not just in a biological sense.  We explore growing with the conscience of being something that can evolve and has a potential, which is rather unlimited speaking mentally and intellectually, not only physically.

So you are constantly challenging yourself?
I always want to challenge myself and the dancers. Every time you meet a new group of new dancers it is a new challenge. You have to find a new way to communicate with the people that relates deeply.

Where does your inspiration come from?
Everyday life!

From your initial idea for a piece how do you begin your process?
It’s always different. I really don’t have a system to tell you the truth. Sometimes I do collect a bunch of material and look into the subject I want to explore. Sometimes it can just be about the subject and then how I can spontaneously translate that into choreography. I don’t really have a system of working and I am glad that I don’t!  The interesting thing about being an artist is that you can just let it out.

So when did you feel that you wanted to become a choreographer?
I have always been choreographing since I started studying dance. It has always been important to me to be creating, not consciously, but just doing. Even before I was dancing I would like to draw, invent things or try to make myself productive, but as soon as I had the dance tool in my hands I started to use it. I choreographed bits and pieces and then moved on to short ballets. Then my work was integrated into the repertoire of the company where I was dancing. When I joined Forsythe’s company it was at a time where Billy was using material that was created by the dancers. We created some projects together and then I asked to create a piece for the company. He said ‘yes’, it was received well and I did a couple more pieces -  it just went from there.

You have had a broad career as a dancer and choreographer. What are career highlights have impacted you the most?
Definitely the experience of working with William Forsythe! I wonder sometimes where I would be if I had not worked with him. It has been the most important experience of my life. I will never look back with any regrets. It was great because we were doing everything; contemporary ballet to singing, dancing and choreography.  It was the deepest experience I could have with a dance company at that time. It was also a philosophical experience. I don’t think I am affected by what was developed or a style, but more a way of thinking.

Make sure you see both Bonachela and Godani’s work with Sydney Dance Company.

Shared Frequencies
March 29-April 16
Sydney Theatre, Walsh Bay
www.sydneydancecompany.com

Sydney Theatre
March 2011

By Dolce Fisher.

This season Sydney Dance Company got it right! With an array of talent across dance, music and design working seamlessly together, Shared Frequencies was a masterpiece.

Italy’s Jacopo Godani premiered his newly commissioned work, Raw Models. Dressed in all black and set to music by German duo 48nord, the dancers captured Godani’s style. The influence of William Forsythe on Godani’s choreography is visible, but I can happily say that he has a style of his own.

Raw Models opened with stark white light and a loud musical introduction that got the audience’s attention from the first moment. With the stage set as a giant black box and the dancers in black costuming, the strong bright lighting became very visually conflicting. The dancers were almost insect looking at times but this was then contrasted with softer more balletic movement.

LANDforms, by Rafael Bonachela and musician Ezio Bosso can only be described as a creative match made in heaven. Artistically the pair seem to understand each other – as the season’s title suggests they do in fact share the same frequency. The combination of music, dance and design complemented one another with simplicity, yet complexity.

The choreography was danced seamlessly, but it was nothing simple. There were many canons, not only using movement, but also spacial patterns, powerful jumps, and intricate partner work.

The choreography featured individual dancers with several short solos. There is something unique about new company member Andrew Crawford. He drew our attention from the first moment of his solo. Chen Wen’s dynamics and attack were outstanding.  His grand jeté in second was breathtaking.

Ezio Bosso’s music is quite intoxicating, written for only the piano, cello and violin. It needed nothing more, except to be recorded, so it can be enjoyed again and again! Katie Noonan’s voice was haunting and completed Bosso’s score.  What was unique about this show was that both works featured newly commissioned musical scores. As contemporary dance is rarely performed to live music, this show is a must see.

Shared Frequencies was brilliant. All of the dancers must be commended. Their level of expertise was phenomenal. The dancers were so in tune with each other, as they too seemed to be on the same frequency.

The Playhouse, Arts Centre, Melbourne
November 9th

By Paul Ransom

If dance is ‘about’ anything then this is surely it. We Unfold is visceral, passionate and achingly beautiful. Driven by a dense emotional score and played out before a backdrop of subtly morphing video spacescapes, it is utterly breathtaking.  

Sydney Dance Company’s recently appointed artistic director Rafael Bonachela has surely taken Australian contemporary dance to the stars with this piece. The sheer boldness and unrelenting beauty of We Unfold underscores an approach that is at once daring and primal. For all the obvious technical rigour, what really grabs you is the uncensored emotion and belief of the dancers. There is not a moment of timidity in this magical hour.

In fact it’s hard to maintain the usual critical cool with this piece. Its rawness and energy, its tenderness and incredible longing simply drown you. If Bonachela set out to explore the ways in which emotion and desire unfold within each of us then he has surely succeeded; and indeed it might be said that dance is the perfect language for such an exploration. At any rate We Unfold is hard to fault. 

Photos by David Wyatt

Of course Bonachela is more than ably assisted in this by the music of Italian composer Ezio Bosso, whose first full length symphony, Oceans, is a hypnotic, Glass like cello and orchestra drone that perfectly carries the spiritual melodrama of the dance.

Behind it all, Daniel Askill’s video art completes the ocean/space metaphor with a piece that mirrors Godfrey Reggio’s trip movie masterpiece Koyaanisqatsi. The real cleverness of this is that it doesn’t at any point detract from the dancers, whose beauty and unflinching, sweaty commitment makes you gasp.

Whilst Bonachela doesn’t exactly rewrite the choreographic rule book here that’s hardly the point. The fifteen strong cast move with such sensuous, athletic grace and expressive power that you are taken right into the heart of their ‘unfolding’.  Beauty is an often humbling thing, even as it uplifts you. We Unfold hits that rarely touched nerve. It is genuinely moving and other worldly; but for all that, unmistakably human. Surely this is what they invented dance for.

Sydney Dance Company presented We Unfold in Melbourne this month - a work adored by Sydney audiences last year. David Wyatt enjoyed photographing the talented dancers.
Copyright David Wyatt david.wyatt@capturingimages.com.au www.capturingimages.com.au

Sydney Theatre.
October 2010

By Dolce Fisher.

New Creations 2 was a mix of old and new with two re-staged works from Artistic Director Rafael Bonachela and a world premiere by Israeli born choreographer Emanuel Gat.

The evening began with a welcome from Rafael. Personal introductions from Artistic Directors seem to be becoming popular and it was refreshing to hear directly from the choreographer.

Opening the evening was The Irony Fate, with the stage shared by dancer Amy Hollingsworth and violinist Ruth Palmer. The pair performed beautifully, combining movement and music. It was an exquisite execution of Bonachela’s vision. Award winning dancer Amy Hollingsworth showed why she is so revered. Every single movement used her entire body and she interpreted the choreography magically.  I could not fault her. The Irony of Fate was sadly Amy’s farewell to the performance side of her career. Thankfully though, we won’t lose her completely as she has transitioned into the role of Rehearsal Director. Violinist Ruth Palmer matched Hollingsworth’s level of excellence with her musical performance.

After such a breathtaking piece we then enjoyed Bonachela’s Soledad. It felt like we were looking in on a couple’s quarrel; a myriad of love, hate and passion. Well portrayed by Richard Cilli and Emily Amisano, they both brought their characters to life allowing the choreography to speak for itself. Bonachela is such a brilliant and intelligent choreographer. He is keeping the company among the world’s best.

The evening ended with Emanuel Gat’s new work Satisfying Musical Moments. It was a distinct variation from the first two works performed. It was very pedestrian and made us feeling as though we were ‘people watching’. The stage was stripped bare with very simple lighting. The costumes were very individual and made us feel as though we were watching a bunch of people in the street, not a dance company. The random quality of the costumes stopped the piece from looking like a formal work and made me see the individual people on stage.

Throughout the piece the dancers stood around the edges of the stage, or at the front with their backs toward the audience. As an audience member this was slightly irritating, but it did build on the idea of standing back and observing. Each audience member became a ‘people watcher’ with the dancers.

I did like Gat’s ideas, however the work didn’t feel as polished in its presentation as some of the company’s other recent works. But perhaps being so different is a good thing for both the audience and the dancers?

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

By Rain Francis.

Audition season is almost upon us – are you ready?
Dance Informa wanted to give you a headstart with some top audition advice. And who better to ask than the directors of some of the best dance companies in Australia, and the world?

Advice from Stanton Welch, Artistic Director
Houston Ballet
www.houstonballet.org

What’s your most important piece of audition advice?
It’s very important in an audition that when you walk in you pay attention. The way that you engage the person and how you look are very important. You need to be dressed appropriately, you need to make sure that you learn the exercises with detail and that you show that you have a level of artistry. Don’t look fearful, and try to give them as broad a range of all the best qualities of you as an artist as quickly as possible.

What’s the biggest mistake dancers make when auditioning?
Trying to show off too much. In a few auditions that we’ve had, a teacher might set an exercise very specifically because we want to see a certain type of ports de bras or an arm or a jump, and then the dancer changes it so that they can show us their thing. Inevitably what they’re showing us is that they can’t learn in detail what you’re presenting.

What do you look for in auditions?
Of course you want a good dancer. I think there are many good dancers now so by the time you narrow it down, what makes you stand out is your work ethic and your artistry. You need to be a smart and intelligent dancer, as well as being someone who can completely transform into any role.

What can dancers do to be prepared?
Somehow I think it’s important that a young dancer gets through a process of practice auditions, so that by the time they walk into the real audition, they’ve somehow calmed their nerves down. I would suggest going to as many auditions as possible, put on as many numbers as possible, and do as many Eisteddfods as possible so that you’re so familiar with walking out and presenting yourself that it’s like a performance.

Advice from Rafael Bonachela,  Artistic Director
Sydney Dance Company
www.sydneydancecompany.com

What’s your most important piece of audition advice?
Wear the appropriate clothing, as a choreographer always likes to see the body of a dancer.  Don’t try to hide under a thousand jumpers and twenty pairs of leg warmers.  It shows confidence in yourself and who you are.

What’s the biggest mistake dancers make when auditioning?
Wearing too many clothes.

What do you look for in auditions?
There are different things I look for.  A strong classical and contemporary technique and being able to mix with a group but to have enough individuality and charisma to stand alone on a stage – after all, I only have 17 jobs on offer.
 
What can dancers do to be prepared?
The only way to be prepared is to work hard, be committed and focused.  To get to the highest level of quality, dance cannot be only a five day week commitment, it’s for life.

Advice from David McAllister, Artistic Director
The Australian Ballet
www.australianballet.com.au

What’s your most important piece of audition advice?
Don’t be nervous! All directors want you to be great and they want to see what you can bring to the company, so turn those nerves into excitement and just enjoy the experience. Always wear practice clothes that are neat and simple. Make sure you don’t cover legs with legwarmers and sloppy trousers as we will think you are trying to hide something. Ladies should always wear pointe shoes as the ladies in most ballet companies spend most of their time dancing en pointe.  

What’s the biggest mistake dancers make when auditioning?
Someone who cannot pick up the exercises and has difficulty with basic technical material will lose my attention quickly, and someone dancing off the music is definitely not destined for a contract.  For ladies, wearing a lot of makeup and too many accessories (hair and jewellery) is also distracting.

What do you look for in auditions?
Musicality is the thing that usually first attracts me to someone in an audition. Confidence in their ability and sureness of technique. I don’t mean that competition confidence, but an inner strength and grounded quality that draws the eye rather than acting as a beacon. Before the audition, I will look at their CV and preferably a DVD of them in action. I look at things like where they trained and who taught them, if they have had any previous employment and if not, any other stage experience. All these things count.

What can dancers do to be prepared?
Don’t do an audition if you don’t feel prepared both emotionally or physically as first impressions count; you’re better to reschedule if you are sick or injured. Do a good warm up and have a copy of your CV just in case.

Advice from Stephen Page, Artistic Director
Bangarra Dance Theatre
www.bangarra.com.au

Why do you choose to hand pick dancers rather than hold auditions?
All of our dancers are indigenous and they generally perform with the company for a minimum of four years, and sometimes for as long as twelve years. Sometimes we have a number of positions available in the same year so when this happens we do conduct auditions. We tend to be aware of indigenous students in tertiary institutions training at a professional level in contemporary dance and from time to time we offer secondments to graduates.

 What sort of process do you use for recruiting?
Because highly trained indigenous contemporary dancers are reasonably rare we are generally aware of them through their years of training and we are always open to hearing from dancers who are keen to work with the company.

What do you look for in potential dancers?
I look for someone with contemporary dance training who has an understanding of traditional Aboriginal and/or Torres Strait Islander culture. The dancers I find particularly interesting are those that respond well to Bangarra’s cultural philosophy and choreographic style.

What’s your advice to dancers hoping to find work in the industry?
I would advise all dancers, including indigenous dancers, to have a breadth of experience in all forms of dance so that they are creatively flexible and open to new ideas. Most important is for a dancer to have a great sense of themself as a person and as a performer.

Thinking of auditioning for a full time dance course? Check out our 2011 Full Time Dance & Auditions Guide! Click here

Sydney Theatre
April 2010

By Nicole Saleh.

New Creations is the world premiere of two contrasting works for Sydney Dance Company. It fulfils the vision of artistic director Rafael Bonachela, delivering diversity to audiences with a commissioned dance work from Australian choreographer Adam Linder, programmed alongside Bonachela’s own distinct creation.

Inspired by the unconscious act of breathing, 6 Breaths is a collaboration by choreographer Rafael Bonachela and Italian composer Ezio Bosso. The original musical score draws upon Bosso’s personal experience of discovering the importance of breath after undergoing surgery.

Bonachela uses the dancers’ physicality, creating clean movements and shapes to bring to life the simplistic beauty of the musical score. The sounds of the piano and cellos guide the choreography and mood of the piece through a cycle of 6 types of breaths, from the breath of life through to the last breath. The dancers’ quick and swift movements to the staccato of the piano are contrasted to the sounds of the cello propelling the dancers’ effortless lifts and turns.

The video art by Tim Richardson enhances this captivating work. Puzzle-like pieces fly through space to create a statue of first a man, then a woman. The statue formations on screen are still and lifeless, while the dancers on stage show that where there is breath, there is also life.

As the piece builds, layer upon layer, so does the choreography through each formation of the dancers. The twelve dancers are impeccable in their unison and their fluid movements create a breathtaking and beautiful piece of work, captivating the audience from start to finish.

Are We That We Are is a significant piece of work for internationally recognised choreographer Adam Linder. It is the first time that this award winning choreographer is showing his work in his home country after leaving ten years earlier to pursue his craft overseas. Linder is both choreographer and guest artist, exploring the psychology of human altered states of consciousness. This provocative piece showcases six strong and commanding dancers who in contrast to Bonachela’s work, perform on stage with sharp, convulsed and sometimes ugly movements. In this piece an echoing voice asks the question over and over “do you not think reality is too obvious to be real?” Linder explores this thought provoking question as the piece heightens with red pulsating lights that build in momentum as the music crescendos and entrances the audience.

New Creations showcases the versatility and strength of the Sydney Dance Company dancers, who succeed in bringing to life two very exciting yet different choreographic works.