Chapel Off Chapel, Melbourne
14 March, 2013

By Rebecca Martin.

Take Anthony Breslin’s tribal and masculine painting style, add in Stephen Agisilaou’s creative flair and genius for creating dance and theatre, throw in the majestic space of Chapel off Chapel, and finish with a handful of Melbourne’s most dazzling dancers, costume designers, composers and musicians, and you’ve got Trybe – An Opera In Paint.

The Chapel stage was transformed into a blank canvas with a tribal frame behind which musicians played Greg Long’s score live. Each solo dancer or couple was assigned a paint colour, and one by one they floated onto the stage where Breslin himself entrancingly poured and brushed paint on the dancers who then transferred the paint onto the stage with their bodies. Piece by piece and movement by movement, a giant tribal face came into being on the stage and was brought to life by the dancers and Breslin’s masterful brush strokes.

Hayley Uberti has long been a stand out dancer in Melbourne and she seductively shone as one half of the blue couple, ably accompanied by Benjamin Cure. Benjamin Hancock was commanding and mesmerising as red and Agisilaou’s choreography highlighted his extraordinary facility and technique, seeing him pose and move in contortion-esque ways.

The piece built with momentum and climaxed in an orgy of paint, writhing bodies and heavy metal music. The power of colour and movement took over the artist and the dancers. And likewise, the audience was swept up in the experience.

Trybe is a performance piece that was the product of many brilliant artists. Elissa Hulla’s costumes were simple but clever – they had to be like a second skin to the dancers’ bodies yet stand up to being smothered in paint every night for two weeks and then rinsed clean. Stephen Agisilaou was billed as the choreographer and co-producer yet he was also integral to the setting of the stage, lighting, projection and ensuring everything and everyone was in its right place each night. Then of course there was the incredible work of the make-up artists, Lynn Hunt and Rebecca Vaughan who transformed the performers into ethereal conduits of the artist’s vision.

Trybe was a complete sensory experience that had to be seen to be believed. The arts in Australia sorely needs more works of this calibre and I congratulate all involved.

Funds from ticket sales to Trybe were donated to the Lasaillian Foundation, which is a small, non-denominational organisation supporting development projects in the Asia Pacific region and more recently, in South Sudan. For more information, visit www.lasallianfoundation.org.

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.

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

Stage Art, Choreographed by Stephen Agisilaou/Adam Blakey

Chapel Off Chapel, Melbourne
Oct 12-22

By Paul Ransom

Sex, death, passion, suicide…

There is a reason the grand themes are continually revisited, not only in drama but in dance. They make for potentially great narrative theatre. The ambitious and energetic Matalor, with its live rock soundtrack and character driven pieces plugs into the much loved and oft re-dredged Romeo & Juliet to find its inspiration; and in so doing delivers a passion filled and somewhat camp tale of doomed desire.

Under the choreographic baton of Stephen Agisilaou and Adam Blakey, the large ensemble cast fill the stage with a blend of Latin, contemporary, ballet and drag show dramatics. Backed by a live band pumping out covers in a glossy, faux-80s style the cast move through a mixed bag of high energy, almost operatic vignettes.

The problem for Matalor is that it’s often so busy you can’t focus. Indeed, the net result is a little more like an end-of-year show than a fully mapped out dance concept. Whilst the athleticism and commitment of the young cast is evident and unwavering throughout, the emotion of the piece fails to translate.

Having said that, plaudits must go to Eley May and Alexander Bryan for their lead roles and to Agisilaou and Blakey for managing to insert some truly excellent choreographic details into the piece. On top of that, the sheer audacity of doing it to a live and loud rock soundtrack is something to be applauded.

Matalor is certainly an interesting blend of aesthetics and, in its showiness and ‘big’ drama, quite possibly a real crowd pleaser. More important than any of this, however, is the fact that Matalor loudly champions the incredible vibrancy and talent of a new generation of Australian dance talent. Maybe if they had been even bolder with this piece we’d be raving about them already.

Photo: In rehearsal for Matalor. Photo by Belinda Strodder

Theatre Works, St Kilda
August 2010

By Rebecca Martin.

Just when I thought Vertical Shadows couldn’t impress me anymore, they present a theatrical triple experience aptly titled Release The Stars.  Choreographer and Director Stephen Agisilaou has a talent so huge and a troupe of dancers so capable that anything less than a worldwide audience now seems inadequate. 

The first piece of the program began before the audience had even taken their seats.  A handful of the company’s dancers were freestyling to the glorious sounds of The Hours soundtrack, composed by Philip Glass.  As we settled in, the dancing organically took shape and so began Fox Times, a compelling and moving piece that was almost classical in its style.  Fox Times highlighted the talents of Jayden Hicks and Rachael Ireson.  Hicks has a natural facility rarely seen in male dancers and an intuitive way of moving.  Agisilaou’s choreography suits his strong technique and expressive style.  Ireson has been a highlight of many local performances and is a stand out in any ensemble piece.  With doll-like features and stunning line, she moves with grace and strength, ensuring that the audience is drawn to her performance.  Even when standing still, Ireson is captivating.  Comprising of a mixture of cinematic scores including the aforementioned Glass piece as well as tracks from the Single Man soundtrack, Fox Times was an inspiring work that made hair stand on end and jaws drop.

In contrast, Grow Up And Blow Away is a jazz style piece that commences with six female dancers adorned in old school glamour miming the lyrics to a song of the same name.  This section seemed a little slow but ultimately worked as a good introduction to the piece and helped the audience adjust to the colour and lightness of the second act.  One of the wonderful things about Agisilaou’s work is his attention to detail and the amount of thought that seems to go into every movement.  During the mime sequence, the dancers were wearing vertigo-inducing heels which they removed before the piece kicked into full gear.  Normally something such as removing shoes would be entirely mundane and most likely gratuitous, however, in Agisilaou’s hands, even a simple act such as that is done deliberately and with flair.  The highlight of Grow Up And Blow Away was undoubtedly the lead dancer, Hayley Uberti.  She flirted with the audience, slithered with sexual allure, and seduced us all. 

In closing, we had the title piece, Release The Stars which was all Hollywood glamour and bright lights.  Most exciting of all was the appearance of Agisilaou himself on stage flanked by six other dancers.  With the men wearing black tie and the women in ball gowns, Agisilaou’s choreography managed to transcend what is normally considered a restricting environment and constricting outfits. The movements were grand and elongated, and almost regal while maintaining a modernity and freshness.  Agisilaou is an exceptional dancer who moves as though he is floating.  Granted, a choreographer’s work often looks most at home on his own body, however it was obvious that Agisilaou’s talent lies beyond his ability to create. 

As always, with Release The Stars, Vertical Shadows have shown that they are a tour de force in the Australian dance scene.  And, as always, I look forward to their next production.

Collaboration The Project is proud to present Immersed Melbourne Dance Industry Night 2011, this month. Immersed will be held at The National Theatre on Monday September 12 at 7:30pm.

Melbourne’s dance scene will amalgamate on one night, to immerse the entertainment industry with their peers and show what it is that makes their city hum!

Immersed will be the Melbourne dance industries premier night of entertainment with a host of established and up and coming choreographers showcasing their work. 

Immersed Performances include; choreography by Paul Malek and Collaboration The Project,  Team Rocket (Australia’s Got Talent), contemporary jazz company Vertical Shadows directed by Stephen Agisilaou (SYTYCD), International Choreographer Leroy Curwood, RickStix Productions headed by Adrian Ricks (Mr. Mistoffolees CATS), Australian hip hop champions Dance Virus Productions, hip hop crews Sole Symphony, The Collektive & all girl crew, Hollabak Dance Crew.

There will also be student performances by full time institutions Jason Coleman’s Ministry of Dance, Dance World Studios, Patrick Studios Australia, Youth dance Company Project Y and a myriad of other exciting acts.

For more information visit www.collaboration-project.com

Video: Courtesy of youTube. Dance Informa takes no
responsibility for the content of any videos viewed through youTube.

Photo by Belinda Strodder

By Rebecca Martin

Since 2009, Vertical Shadows has presented ground-breaking works with some of Australia’s most talented dancers.  A Melbourne based contemporary jazz company, Vertical Shadows is the creation of Artistic Director Stephen Agisilaou. As one of the few paying jobs for contemporary dancers, Vertical Shadows is an exciting, vital and innovative company that is set to revolutionise the dance scene.  The company’s production of Home during 2010 was one of the year’s highlights, so the premiere of Release the Stars in August is hotly anticipated.

A natural dancer his whole life, and choreographer from the early age of 15, it wasn’t until 17 that Stephen attended his first dance class and has since trained in contemporary, jazz, musical theatre and hip hop as a full time dance student.  By the time he was 23, Stephen had relocated to Canada where he performed with a contemporary dance company in Vancouver that provided the inspiration for the first Vertical Shadows piece.  Upon his return to Australia Silence On These Seeds was created, documenting Stephen’s personal tribulations during his time in Canada.  At first, Vertical Shadows was simply a name to represent the collective dancers that performed in Silence on These Seeds but has since become a fully-fledged dance company that presents regular shows.  Stephen now dedicates his time to teaching and choreographing rather than dancing, as he enjoys the creative process and staging of shows the most.

I spoke with Stephen about the company’s background, his inspiration, and upcoming shows…

Tell us about the company…
The Vertical Shadows style is contemporary jazz with influences from my hip-hop training. I audition different casts for each show as all our shows vary so much in style, but I do have about 4 principal dancers who are in all the productions. We put on 1-3 shows a year, with no set seasons, as I believe in putting on shows when you have something ready for the stage not just because you have to put something on. I will work on the show for a year or two before I audition for it and lock it in for a stage.

We are an independent dance company but believe it is important to pay the dancers. Our dancers get paid their wage whether or not our shows make money. In my opinion, dancers often get the short end of the stick payment wise.

You have spent some time in the US recently, what did you get up to there?
I like to go back to LA and NY to train every year on my way back to Canada to teach summer intensives. Seeing shows is my favourite thing to do. I have seen so many incredible musicals and dance productions while travelling North America. Seeing shows is 50% of your training I believe.

What are your personal influences and inspirations as a choreographer?
I am a huge Michael Jackson fan.  I love how he added such charisma and dramatics to pop music and took influences from old jazz styles and made them modern. I like to think Vertical Shadows brings dramatics to the contemporary dance stage that is acceptable to the general public. We have had an amazing response from both the dance and general audience which suggests Vertical Shadows is on the right track.

You choreographed for the Australian version of So You Think You Can Dance.  Tell us how that experience was…
It was a lot of fun and it is great for a broader audience to see your work. The show does great things for the dancers appearing on it by giving them exposure and experience.  This creates work for them after the show which is amazing. Personally though, I prefer dance to be on stage rather than on television, and in the theatres where it belongs.

You have started choreographing for musicals too, tell us about that…
I’m such a huge fan of musical theatre, and I was very fortunate to have the opportunity to choreograph the Melbourne premiere of my favourite musical Spring Awakening this year. I also got to work with the amazing Dean Bryant and Matthew Frank on their award winning musical Prodigal. I have a few more in the works at the moment for the next few years and I can’t wait to get started.

Tell us about Vertical Shadows’ upcoming show…
Release The Stars is the first show from the company in 2011, and is a triple bill with a cast of 12. I have such an amazing cast in this show and they were really the inspiration behind its theme. We are working with some incredible lighting – I always conceptualize the lighting as part of the piece while making it. It’s important that my cast and I enjoy ourselves during the rehearsal process and on stage, as the one thing we love to do is entertain!

Release The Stars opens in Melbourne August 17 at Theatreworks.
www.theatreworks.org.au/whatson/event/?id=92
‘Friend’ Vertical Shadows on facebook for your chance to win free tickets to their new show!