Walpole & Sister
July 15, 2010
Dancehouse, Melbourne
Sisters and artistic collaborators Grace and Helen Walpole deal in an intriguing genre of performance; combining scientific theories with artistic explorations. Their latest creation is a dissertation on mathematics, infinity and how these scientific concepts relate to the body through the experience of pain.
It could be dry, but the Walpoles have cleverly constructed the piece to undulate through poetry and improvised dance, arriving at both abstract and literal representations of such advanced concepts as hyperbolic space and logarithmic perception.
The result of this complex amalgamation is a surprisingly accessible invitation to re-awaken our curiosity about the wondrous fabric of our universe and our place within it.
Grace is the on-stage presence, combining refined movement with a well researched and constructed science lecture. Her tone is something like that of a friendly geometry teacher, gently expounding the profundities of pi.
The elegantly simple design and evocative text are Helen’s domain. Her celestial dinner plate sculpture echoes extends the discussion of pi, while a poignant passage emanating from the ashes of Black Saturday alludes to the infinitesimal and over-awing power of nature.
Accompanying the piece is an apt but unobtrusive score by David Corbet, along with a series of drily amusing descriptions of pain inflicted by insect bites. Intelligent lighting design by Jenny Hector and Rose Connors Dance makes the most of the idiosyncratic venue.
With philosophical and physical treasures to please both specialist and generalist audiences, Mathematical Models of the Sublime is a fascinating performative essay.
This review was commissioned by The Age newspaper.
JACK Productions
Choreography by Lucas Jervies
Malthouse Theatre, Melbourne, July 7, 2010
Human Abstract is the first performance by JACK Productions, a group of Australian Ballet dancers who have branched out from the parent company to present ‘innovative dance’. Well done to them, and to the Australian Ballet for supporting them in this experimental endeavour.
As much I would have loved to rave about the piece and herald a new era in ballet for Melbourne, there are just too many flaws in this fledgling work, choreographed by young Australian Lucas Jervies.
At times the dancing is great, as you would expect from such wonderful artists as Leanne Stojmenov, Danielle Rowe and Kevin Jackson, not to mention the founding members of JACK; Andrew Killian, Robert Curran and Laura Tong.
The ample text is eloquently spoken by international guest artist Sabina Perry, but it’s impossible to know who is the author, as there is no credit given in the program notes. [Apparently it's from Mary Shelley's Frankenstein. Thankyou Mr Boyd]. And, there are the usual problems which arise when choreographers employ language– it tends to bludgeon the movement into insignificance and feels clunky next to the airy subtleties and endless possibilities for interpretation which dance can offer.
I can see where Jervies is perhaps trying to go, combining ballet technique with dance theatre elements; a sofa, a fencing mask, a bizarre aerial prop something like a giant pair of inverted stockings plonked on Perry’s head. Even a comical scene toward the end of the piece with Killian disdainfully holding a mirrorball as Perry enthusiastically mimes a soulful version of Someday (you’ll want me to want you).
But it just doesn’t gel. It’s too long and there’s no real dramatic impact. Jervies is still in the early stages of his career as a choreographer, and his inexperience is evident.
It will be fascinating to see if JACK and Jervies can continue to experiment and mature, pushing Australian ballet into new territory. They just haven’t quite reached it, yet.
