Tzu-Chao Chou & Lana Jones in Dyad 1929. Photo: Jim McFarlane
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August 21 - September 1, 2009
State Theatre, Melbourne
With fresh creations from two of the world’s most in-demand choreographers and a modern favourite, this is a most contemporary Australian Ballet triple bill.
Nacho Duato's Por vos muero sits alongside Wayne McGregor's post-modern Dyad 1929 and Alexei Ratmansky's reworking of the Massine story ballet Scuola di ballo.
Opinions have varied about the success of the program, so for those unable to see it for themselves, here's a collection of links to reviews:
Michelle Potter's blog calls Dyad 1929 "brave and challenging", but Eamonn Kelly in The Australian found the movement "cold".
Stephanie Glickman on Australian Stage lauds the commitment of the company's versatile dancers.
My review is published on Arts Hub, and Robin Grove's brief but positive review is on The Age website
Got an opinion of your own? Let me know what you thought!
Dancenorth, one of Australia’s leading contemporary dance-theatre companies is calling for expressions of interest from male and female dancers for contracts beginning February 2010.
Applicants should have trained at a recognised school or conservatoire and have strong contemporary and classical dance technique. Dancenorth repertoire is highly physical and will often involve character development, so an ability to improvise and participate in the creation of choreographic material is essential. Understanding you will be part of a small company, and the need to make a commitment to living in the North of Queensland is essential in making an expression of interest. Auditions will be by invitation only and be held on Sunday, 18th October at Dancehouse in Melbourne, Australia.
To apply please follow the instructions as follows: Please complete your contact details and attach the following information then email directly to raewyn@dancenorth.com.au by 15 September 2009.
Name / Date of Birth / Best contact email / Express why you are interested in working with Dancenorth?
Include a short Bio and a photo
From the above submission the Artistic Director will make an invitation directly to you by email to participate in the audition, in Melbourne. Selected participants should be prepared to take part in a ballet class, followed by performing a short solo of your own choreography that lasts no longer than 1 minute.
From this process a second short-list will be compiled and if selected you will then complete a set task and a brief interview with Artistic Director Raewyn Hill.
Created and performed by the 7 fingers (le 7 doigts de la main)
Comedy Theatre, Melbourne
August 19, 2009 (until August 29)
In an unidentified disaster zone, a group of young people attempt to leave some trace of themselves in what could be their final moments. It’s a relatively flimsy excuse for an extraordinary display of contemporary circus, which, despite the very loose narrative thread, is an excellent production.
The personalities of the five young performers gradually emerge as they introduce themselves, telling us their names, personal attributes and revealing some of their many talents. Their friendly banter is woven into a seamless combination of high-level acrobatics with classical piano, live sketching and skateboarding skits.
Their skills are truly fantastic and the acts themselves are generally very well conceived and directed. The group sequences are particularly spectacular, reaching gasp-aloud climaxes in the gravity-defying double pole and hoop diving acts.
In an awesome display of strength and power, Antoine Carabinier-Lepine spins and rolls inside the Cyr wheel, his continually changing combinations growing ever more spectacular. Geneviève Morin and Antoine Auger have great rapport in their angsty duet, a smooth blend of amazing stunts with the push-pull dance of a complicated relationship. Atop a headless mannequin, Philip Rosenberg gracefully executes one-handed balances, while Raphael Cruz is the ultimate all-rounder, cheeky and confident.
Despite the vague sense of impending doom, Traces never takes itself too seriously, maintaining a high level of youthful energy throughout, driven by an eclectic soundtrack which ranges from Broadway tunes to electronica and Radiohead.
Ultimately, it’s the brilliance of the performers and their acts which makes this French Canadian circus a success.
First published in The Age newspaper
July 30, 2009
Hamer Hall, Melbourne
In the parade of gorgeous tutus and double fouettes, majestic leaps and brilliant pirouettes, it was the men who outshone their partners in this showcase of international ballet talent.
Young Australian star of The Royal Ballet, Steven McRae, demonstrated why his career has been so meteoric in his performance of the Don Quixote pas de deux with fellow Royal Ballet dancer Roberta Marquez. His legs were whip-crack sharp beneath his rock solid torso, while Marquez was the perfect foil, all smiles and easy grace.
Joseph Phillips from American Ballet Theatre also made a huge impression in the Diana and Acteon pas de deux with his bouyant leaps and assuredly smooth turns, while his partner Venus Villa had a delightful presence, light on her feet and technically brilliant.
Yet magnificent as both McRae and Phillips were, they were trumped by another rising star, Ukrainian-born Sergei Polunin, who danced Le Corsaire as though it was made for him. At just nineteen years of age, Polunin’s dancing is full of passion, his spitfire technique absolutely marvellous. He was partnered by Mara Galeazzi, also of The Royal Ballet, whose abilities were absolutely overshadowed by the intensity of his talent.
Beatrice Knop and Dmitry Semionov of the Staatsballett Berlin displayed their prowess in an interesting modern duet from Caravaggio, a contemporary ballet by Italian choreographer Mauro Bigonzetti.
Mathilde Froustey from the Paris Opera Ballet and Australian Adam Thurlow made a charming pair in Paquita, and the obligatory Black Swan pas de deux was competently danced by Russians Natalia and Yuri Vyskubenko, though it was somewhat lacking in characterisation.
The program was supported by students of The Australian Conservatoire of Ballet, who, despite being very well rehearsed, couldn’t help looking dowdy in comparison with the glamorous international superstars.
First published in The Age newspaper
