Parramatta Riverside, Sydney
May 16, 2013

By Lynne Lancaster.

Sydney has been very lucky this past week to have visits from both the wonderful Australian Dance Theatre in their amazing G and the marvellous Expressions Dance Company from Queensland with Natalie Weir’s R&J.

R&J features superb dancing that is laser sharp and sizzling with death defying rolls, jumps, runs and catches in the pas de deux. The small cast is magnificent!

The ballet takes the well-loved Shakespearean story of Romeo and Juliet as its base. The work is in three sections – Act 1 is Passion, Act 2 is Romance and Act 3 is Devotion, using various elements of the story with a twist.

In the first two sections we see the enforced separation of the two lovers. In Passion, our Juliet (the award-winning Elise May) is dark, passionate and intense. Some of the amazing, flowing pas de deux is Graeme Murphy-like in its dazzling rolls, jumps, catches and enfolding. Our excellent Romeo for both this and the third section, Devotion, was the handsome Jack Zeising.

In Romance our Romeo is dark and curly-haired Benjamin Chapman, and his Juliet is the exquisite blonde Michelle Barnett. This act is far more concentrated on the sad death of the lovers after some tremendous pas de deux and pas de trios. Tall, bearded Thomas Gundry Greenfield looms as the ominous figure of Death.

Particularly for the first two acts, Weir’s choreography has a circular feel, contrasted with some laser-sharp scissoring lines of legs and arms and wonderful enfolding and entwining for the sinuous pas de deux. In Romance there are waltz like movements and large blocks of dance for the ensemble as guests at a party. Romance also features long arcing lines, a joyous lyricism and floating lifts.  

The third section Devotion, set in the 1950s, opens with a tender and intimate ticklish pas de deux of tiny movements of a hand or finger; you can almost hear Juliet (Riannon McLean) giggling. There are lots of repeated phrases of everyday movement as Romeo leaves for work/arrives home repeatedly with almost a Groundhog Day feel. Eventually the phrases change and our Juliet is left sadly alone…waiting.

Bruce McKinven’s set is mostly various tilted boxes of assorted sizes. For the middle section of the work there is also a coffin-sized box mysteriously lit from the inside. The final section includes two chairs forming a split sofa.   

John Babbage’s score drives the show. Sometimes it is Phillip Glass-like, sometimes it is hot jazz with a cool saxophone solo, at other points it is delicate, joyous or anxious. The lighting by David Walters is stark yet atmospheric, eerie at appropriate points, and there is a marvellous coup de theatre at the end that gives a soft, poignant lyricism.

R&J is a hypnotic, enthralling performance showcasing a splendid, passionate cast and sensational dancing. Bravo!

Photo courtesy of MGM Publicity

QPAC, playhouse.
September 27
As part of Brisbane Festival

By Marc Clayton.

Brisbane Festival provided the platform for Dance Energy, a collision of classical and contemporary dance exploring the human struggle for survival and a sense of identity. For the first time Dancenorth, Expression Dance Company and Queensland Ballet joined forces for Dance Energy, creating a thought provoking dance journey for Brisbane audiences.

Brisbane Festival Artistic Director Noel Staunton was the main driving force behind Dance Energy.  “We have such amazing talent in our own back yard, it is a real treat to bring them together to showcase their incredible skills”, said Staunton. And a treat it was!

The talented Brisbane based choreographers that produced this inspiring showcase were Dancenorth’s Raewyn Hill, Expressions Dance Company’s Natalie Weir and Queensland Ballet’s Gareth Bellingall. The show then concluded with a work from London based, New Zealand choreographer Cameron McMillan.  All of the music used was created by composer, Peter Sculthorpe.

The four acts that made up Dance Energy were very diverse but they were bought together beautifully by the combined efforts of Sound Designer Brett Collery, Designer Bruce McKinven and Lighting Designer David Walters.  Without their efforts Dance Energy would have not had the same appeal and been the overall master piece that I witnessed.

The acts that resonated most with me were Act One, Allegories, and Act Three, The Lament.

Allegories was very effective.  The sheer simplicity of using white business shirts and suitcases to transform the space was brilliant and had the audience wanting more.  A combination of dancers from Dancenorth and Queensland Ballet performed this breath-taking piece, with standout performances from Tere Crilly, Rian Thompson, Robert McMillan,Thomas Gundry Greenfield, Jeremy Poi, Jessie Oshodi and Anita Hunziker. This piece was a brilliant success for Hill as she conveyed a powerful message to the audience.

Natalie Weir’s, The Lament told a raw and heart felt story of love and loss through war and conflict. The power carried throughout the piece drew audiences in from the first step.  The combination of Expressions Dance Company and Queensland Ballet dancers made for a diverse, yet punchy performance. Riannon McLean, Elise May, Rachael Walsh, David Williams, Jack Ziesing and Piran Scott were stunning. It was also great to see Weir present a dynamic male trio onstage.  The raw strength and energy revealed in this piece was outstanding.

I hope that this is the first of many shows we see in Brisbane with combined works from Dancenorth, Expressions Dance Company and Queensland Ballet – industry’s driving forces in dance.

Photo: Dance Energy, photo by Christian Aas

By Rain Francis.

As we step onto stage or into that audition room, we all tend to get a rush of nerves. How do the professionals in the industry control their anxiety and nervousness? Dance Informa spoke with three talented performers to see how they cope when the pressure’s on.

How nervous do you get before performing?

Daniel Ulbricht
Principal Dancer, New York City Ballet
Generally speaking, I don’t get very nervous.  If it is a new ballet or new role I am dancing, I try to focus on the steps.  Most of our ballets are rehearsed pretty thoroughly.  Sometimes when I know a family member or friend is there I feel a little nervous, because I want to really show my stuff.

May Yen Cheah
Singapore Dance Theatre
It depends on what I’m performing. Usually I don’t suffer from uncontrollable nerves, but I think if I had to go on and do 32 fouettes, I would be very nervous! I definitely used to get very nervous when I was younger. I guess over time and with accumulating performance experience you become more confident.

EDC's Riannon McLean, Richard Causer and David Williams. Photo by Fiona Cullen

Riannon McLean
Expressions Dance Company, QLD Australia
I get very nervous!  No matter what I am performing, I have always experienced nerves throughout my career.

Do your nerves subside as the season progresses?

Daniel Ulbricht
Performing definitely gets easier as you go through a season.  The first couple shows of a season you are really trying to get your rhythm together.  That includes warming up, doing your show, cooling off and the small things in between.  As you go throughout the season you find you know how long everything takes and can relax into things a bit more.

May Yen Cheah
Definitely, because you become more comfortable with the choreography. It becomes an extension of yourself. After repetition and time, you learn not to stress about the steps but to trust your body and muscle memory. Then you start to really experience the freedom of dance and the art of expression.

Riannon McLean
Yes, they do tend to subside. You become a little more confident with your role, allowing you to relax and enjoy it.

What is your best way to deal with nerves?

Daniel Ulbricht
The best way for me to deal with nerves is to turn the situation around.  I try to use it as energy. Instead of thinking that the audience is a group of judges, I think of them as support.  They are there to cheer on art, not pull it apart.  They appreciate it.

May Yen Cheah
It is absolutely necessary to adjust to and get comfortable with the new surroundings: the size of stage, floor material, lights and not having a mirror. Before I go on stage, I like to be alone and get into a zone to prepare myself mentally. This is very calming and helps me to focus.

Riannon McLean
Breathing and staying focused on what I am about to do.

What does your pre-show routine entail?

Daniel Ulbricht of New York City Ballet in Tarantella. Photo by Paul Kolnik

Daniel Ulbricht
I kind of have a pattern.  I don’t like to eat too close to the show. I don’t want to feel too full. Depending on when we go on in the program, I do hair and make-up, and then try to get in a full warm-up. Then I get my costume on, go onstage and walk through the choreography lightly.  Last, I always take a knee before I start the piece.  I always want to take the opportunity to be thankful for the opportunity I am about to share with 2,500 people.  It is truly a blessing to do what we do!

May Yen Cheah
My preparation begins days before the show. Eating well and sleeping well all contribute to dancing well. For warm up, I like to do a ballet class. Then I spend a little time on any problems I had from the previous show or rehearsal. I do my hair and make-up and stay warm as long as possible. Before the show, I revise parts of the choreography in my head to try to imagine what I’m trying to achieve, or to think how I could do something better, and importantly, to remember corrections. Then I am both physically and mentally prepared.

Riannon McLean
I always have to listen to music while I put on my make up and walk the corridors (as I like to pace around). Just before the show I have one track that I listen to to get energised, focused and get my heart rate up.

Are there some situations, or ballets, that make you more or less nervous, and why?

Daniel Ulbricht
The one ballet I get nervous for, even after 10 years, is the Gigue in Mozartiana.  It was one of Mr. B’s last works and has a special solo that is very quirky.  It is genius the way he made it.  The reason I constantly go over it is because there are many familiar sequences that happen to repeat but each time it comes around there is a slight variation.  It is stimulating and you have got to be on to show how great the piece is.

May Yen Cheah
I recently modelled for a runway show for Singapore Fashion Festival 2012, and I was so nervous. All we had to do was walk and do a couple of ballet poses. It was SUPER EASY and yet I was more nervous for this than I’ve felt in a long time. Everything was put together so fast. So for me, preparation is key. I dislike running late, having to rush, and feeling so unprepared.

Riannon McLean
If it’s a premier season then I am extremely nervous on opening night. It’s the first time performing the new work, so there is a lot of expectation for it to be a success and I want to be the best I can possibly be in my role.

Can you describe a time when something didn’t go right on stage, and how you handled it?

Daniel Ulbricht
There have been mishaps on stage that I have both seen and experienced.  The bottom line is: it is not a mistake until you show it. Usually, I can notice it in someone’s eyes first, then the rest of their face.  But it does happen to us all at one time or another.  In the end great technique, experience, and confidence help.

Australian dancer May Yen Cheah performing with Singapore Dance Theatre

May Yen Cheah
Most of the time, it is not as noticeable or as big a deal as we feel it is. I’ve fallen over, missed a climax lift, had a costume malfunction, and fallen out of a lift! My partner threw me up in the air and our grips didn’t work out for some reason. He caught me at the very last minute as my knee hit the ground. I also kneed him in the eye. We whispered to each other “are you ok”, “yeah I’m ok. Are you?” “Yes. Let’s keep going” and we kept dancing until our next exit which is when we realised he had blood dripping down the side of his face! We had a few minutes to freshen up and we then continued on to finish the entire show. The next day he woke up with a black eye. Oops…Sorry! So yeah, it is humiliating at the time, but you have to remember that it happens to everyone, even some of the biggest stars in the world.

Riannon McLean
Most dancers have experienced a time on stage when the mind has a forgetful moment and the body kicks in to take over.  I have had a few of these and those moments can feel like an eternity! You recover yourself quickly and hope the audience never noticed.

What advice would you give to other dancers who suffer from nerves?

Daniel Ulbricht
Just remember to stay calm.  When you are calm, you can think, listen, decide, gauge things, and enjoy it.  When we get nerves or panic we usually hold our breath, get tired faster, and it is not as fun.  Remember the audience is there for the art.  Lastly, remember Lombardi who said, “It is not how hard you fall, but how fast you get up.”  The audience will know what that means….

May Yen Cheah
The more you perform, the easier it gets. It takes practise, like anything else. Taking slow, deep breaths is very helpful. Go somewhere quiet, close your eyes and try to become more aware of your other senses and of your body internally. I find this is very calming and brings focus to the body and mind. Also, don’t focus on the fact that you’re nervous. The mind is very powerful and you will only make yourself more nervous. Think of positive things and the reasons you do what you do. Reassure yourself of your talent and renew your confidence. Remind yourself to be thankful for your opportunities, your passion, and ability. Dance is a gift.

Riannon McLean
You need to acknowledge your nerves and know yourself well enough and how best to deal with them. Never let nerves get the better of you. As a performer I rely on my nerves for every performance and they are a very positive feeling for me. I know I am ready to step out on the stage and perform. Without those butterflies, I know I would be more anxious and nervous trying to find them.

Top photo: May Yen Cheah

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.

Hear from your favourite dance artists and be inspired for 2012!

By Deborah Searle. 

What’s your New Year’s Resolution? Do you make goals for yourself at the start of a new year, in the hope of becoming a better dancer, choreographer, or teacher? Even the industry’s most renowned dance artists set new goals for the new year.  Dance Informa spoke to the industry’s dance stars to find out their plans for 2012.

Madeleine Eastoe with Kevin Jackson. Photo Georges Antoni

Madeleine Eastoe
Principal dancer, The Australian Ballet
www.australianballet.com.au  

“My New Year’s resolutions are to do all those stretches and exercises I put off until later because they hurt, to eat less chocolate and drink less coffee (like that will happen!),  and to make realistic resolutions for the future!

My aspirations for 2012 are to be partnered by Kevin Jackson wherever possible and remain injury free, so I can enjoy all my performances and rehearsals leading up to them. I guess I aspire to keep a high standard of dancing while being emotionally and artistically challenged. I also plan to enjoy my wonderful family life, because I’m blessed to have this career as well as the love and support of my husband and daughter.”

Marko Panzic

Marko Panzic
Dancer, Choreographer, Producer
www.markopanzic.com

“My theme for 2012 is all about LEARNING! My goal and resolution for 2012, is to learn new things and develop new skills in the world of entertainment. 2012 marks the first year which I will be producing a dance show in Sydney. I am excited for 2012 and excited to grow and learn more and more in different fields in the Dance world. Another secret resolution is to work with Beyonce at some point. I’m working towards it! Hehe “

To learn more about the show Marko’s producing in 2012 visit www.markopanzic.com/tannos-choice 

Paul Knobloch

Paul Knobloch
Company Dancer, Alonzo King’s LINES Ballet, San Francisco USA

“This New Year I will be joining Alonzo King’s LINES Ballet, moving from Australia to San Francisco and making my mark on the American dance scene. I guess my resolutions for the new year are much like my ultimate dance dreams:
To be the best dancer I can possibly be.
To give myself completely as an artist. 
To bring happiness, joy and inspiration to all I am blessed to dance for.
To learn, absorb and soak up as much knowledge available to me in order to inspire and share the gift of dance with others.
To inspire other people who have a love and passion for dance, and encourage them to reach for the stars in pursuit of their ultimate dreams.”

After eight years as a leading dancer with The Australian Ballet, Paul Knobloch then joined the renowned Béjart Ballet Lausanne in Switzerland. Now America is calling and Paul will join San Francisco’s Alonzo King LINES Ballet in 2012.

Sarah Boulter

Sarah Boulter
Renowned choreographer, Co-Director Ev & Bow
www.evandbow.com

“My New Year’s resolution is to be more adventurous in every experience to expand the capacity of my imagination, creativity, friendships & choreography. My Goals are to push myself choreographically and share my work in many forums both within Australia and overseas. Lastly, to create more opportunities for contemporary dancers in Australia providing more performance and career opportunities!”

Kevin Jackson with Madeleine Eastoe. Photo Georges Antoni

Kevin Jackson
Principal dancer, The Australian Ballet
www.australianballet.com.au  

“I don’t often make New Year’s resolutions, mainly ‘cause I don’t like disappointing myself when I don’t keep them! My resolution for the year to come will be to be a better lover, friend and family member to the people I love and care for. My aspirations for 2012 are to give Australian and overseas audiences great shows and to continue to develop and improve as an artist while working with The Australian Ballet.”

Erin Lamont

Erin Lamont
LA Based Choreographer and Creative Director
www.erinlamont.com

“My choreography and dance goals for this year include: choreographing a national commercial, my burlesque group ‘The Lalas’ to be in a residency at a resort/casino in Las Vegas (www.thelalas.com), and to work on a hit sitcom show choreographing a “spoof” scene for actors.  I LOVE working with non-dancers on comedic routines.  I always have such a blast! Other goals are to choreograph for another CSI episode.  I recently worked on CSI:NY and the experience was amazing.  As a dancer and choreographer I felt so appreciated and respected.  I also had a lot of artistic freedom in the scene which made for fun improvisation. Also, SYTYCD.  Need I say more? Lastly, I aim to work my agent to the bone and keep her so busy with all of my bookings. I just signed with The S Agency in L.A, and I am so excited for what lies ahead!”

LA based, Detroit born, Erin Lamont is an in demand choreographer with feature credits including The Video Game Awards with Neil Patrick Harris, Lady Gaga, Kevin Rudolph, Trace Adkins, Boys Like Girls, the Veronicas, CMT’s Your Chance to Dance, L.A Fashion Week, and ESPN. Erin tours internationally as a guest artist and choreographer and is also the producer and director of L.A’s hottest burlesque group, ‘The Lalas’.

Michele Assaf

Michèle Assaf
Artistic Director of World Dance Movement-The International Workshop
www.WorldDanceMovement.com

“To create more outlets nationally and internationally to educate dancers and support this community that has brought me a lifetime of joy.”
.

Robert Hoffman

Robert Hoffman
Step Up 2:The Streets, faculty of The PULSE On Tour
www.punchrobert.com

“To make ‘The Yes Dance’ into a movie… Grow as a person… And create a lot of smiles, wonderment, and laughter.”

Robert James Hoffman rose to fame as the lead male in Jon M. Chu’s urban dance drama ‘Step Up 2: The Streets’. He is a faculty member of The PULSE On Tour®, a powerful weekend dance event featuring the most renowned instructors, choreographers and educators of today. www.thepulseontour.com

Riannon McLean

Riannon McLean
Company dancer, Expressions Dance Company

“My New Year’s resolution is to always be honest and open about the artist I am and the goals I believe I can reach. My goals and aspirations are to keep gaining knowledge and experience both mentally and physically and to simply embrace this wonderful journey I am on!”

David Williams

David Williams
Company dancer, Expressions Dance Company

“My New Year’s Resolution is to get my Driver’s Licence. I’ve been on my L’s for 9 years! My goals and aspirations for 2012 are to be the strongest my mind and body have ever been….It’s time to conquer!!!”

Samantha Mitchell

Samantha Mitchell
Company dancer, Expressions Dance Company

“My New Year’s resolution is to broaden my horizons, attend a varied range of live theatre, challenge my cooking skills, get my sewing machine out more frequently, improve my keeping-in-touch skills with overseas friends, grow a herb garden… oh and perhaps learn a language!

My goal for 2012 is to develop a piece of choreography. When I was in my third year of training I dabbled a little in choreography, but haven’t revisited it since becoming a professional dancer. Now I’m in my fifth year of work, I want to experiment with some ideas. It’s a very exciting prospect, and I am looking forward to the challenge.”

Expressions Dance Company’s 2012 season kicks off in Brisbane with ‘Launch Pad 2012’ from Feb 21 – 25, and continues with ‘Scripsi Scriptum’ in March – a co-production with Cathy Sharp Dance Ensemble from Switzerland. EDC will also tour to Melbourne in July to perform as part of The Australian Ballet’s ‘Lets Dance’ season and more performances and collaborations will be announced in the New Year – stay tuned. www.facebook.com/expressionsdancecompany or www.expressionsdancecompany.org.au

Top photo: © Tom Wang | Dreamstime.com