http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1330
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Saturday 22 December 2012
TAP Gallery 25Eight
unfortunately a disappointing work
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1330
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1330
Austinmer Dance Theatre's Encoiled
a most exciting programme
http://au.artshub.com/au/news-article/reviews/performing-arts/encoiled-193281
Based in NSW’s Illawarra region, Austinmer Dance Theatre is led by teacher and choreographer Michelle Forte, who made a welcoming introductory speech at this short season at Coniston’s Phoenix Theatre prior to the performance proper. uNCOILEd, which Forte hopes will become an annual event, is part of the company’s 2012 season, which was dedicated to the memory of their colleague Nicole Louise Fitzsimons who passed away tragically earlier this year .
Metamorphosis, choreographed by Molly Erin Fitzpatrick, was an intriguing, exciting pas de deux featuring considerable unison work. This strong work also featured use of a high demi-pointe, arabesques, great jumps, and a particular way of using the back, quite sculptural and frieze-like in parts. The dancers were clad in beautiful blue dresses.
While We Wait was a sharp, tense and dramatic quartet set to an ominous, eerie soundtrack. Forte’s choreography demanded a very articulate back, a sizzling line and sharp flicks of movement.
Claustrophobia, choreographed by Melissa Jane Pinn, was strong and powerful. The cast danced clad in wonderfully textured and layered black costumes, in a work which featured assorted repeated phrases of movement, sometimes individual, sometimes followed by the group, with the use often of a deep Graham plie and an angular feel to the choreography. Some of the choreography was machine-like and at one point reminiscent of a snippet of Macmillan’s The Rite of Spring; the way a member of the group was isolated and chosen for death reinforced this impression.
For me the least successful work was the most hyped – the specially commissioned Sanbiki No Kashkoi Saru, choreographed by Maurice Causey. The bird/floral dresses were pretty, but it didn’t really go anywhere or do anything choreographically memorable. The work as a whole was overwhelmed by the strange beeping, breathing, gurgling voice soundtrack.
There is a Time, another piece choreographed by Forte, brought the evening to a close. Also featuring a maddening, pulsating soundtrack, this work boasted terrific short, liquid solos, some intriguing partnering and duets, and disjointed, repeated phrases of movement. It was quite intense and demanded sharp jumps and explosive runs as well as strong unison work .
Also included in the program were four short ‘interludes’ – improvised solos with the dancers in white shirt and black bra and pants. These were most impressive, combining a range of moods (joyous to melancholy) and a varied range of music and dance styles.
Overall, uNCOILEd featured excellent performances in a great program of new work. This is a company and dancers to watch.
Rating: 3 ½ stars out of 5
uNCOILEd
Austinmer Dance Theatre
Choreographers: Molly Erin Fitzpatrick, Michelle Forte, Melissa Jane Pinn and Maurice Causey
Dancers: Molly Fitzpatrick, Melissa Jane Pinn, Olivia Hutchinson Smith, Jodie Toogood, Sophie Wighton, Rhiannon Davies
Phoenix Theatre, Coniston
15 – 16 December
Metamorphosis, choreographed by Molly Erin Fitzpatrick, was an intriguing, exciting pas de deux featuring considerable unison work. This strong work also featured use of a high demi-pointe, arabesques, great jumps, and a particular way of using the back, quite sculptural and frieze-like in parts. The dancers were clad in beautiful blue dresses.
While We Wait was a sharp, tense and dramatic quartet set to an ominous, eerie soundtrack. Forte’s choreography demanded a very articulate back, a sizzling line and sharp flicks of movement.
Claustrophobia, choreographed by Melissa Jane Pinn, was strong and powerful. The cast danced clad in wonderfully textured and layered black costumes, in a work which featured assorted repeated phrases of movement, sometimes individual, sometimes followed by the group, with the use often of a deep Graham plie and an angular feel to the choreography. Some of the choreography was machine-like and at one point reminiscent of a snippet of Macmillan’s The Rite of Spring; the way a member of the group was isolated and chosen for death reinforced this impression.
For me the least successful work was the most hyped – the specially commissioned Sanbiki No Kashkoi Saru, choreographed by Maurice Causey. The bird/floral dresses were pretty, but it didn’t really go anywhere or do anything choreographically memorable. The work as a whole was overwhelmed by the strange beeping, breathing, gurgling voice soundtrack.
There is a Time, another piece choreographed by Forte, brought the evening to a close. Also featuring a maddening, pulsating soundtrack, this work boasted terrific short, liquid solos, some intriguing partnering and duets, and disjointed, repeated phrases of movement. It was quite intense and demanded sharp jumps and explosive runs as well as strong unison work .
Also included in the program were four short ‘interludes’ – improvised solos with the dancers in white shirt and black bra and pants. These were most impressive, combining a range of moods (joyous to melancholy) and a varied range of music and dance styles.
Overall, uNCOILEd featured excellent performances in a great program of new work. This is a company and dancers to watch.
Rating: 3 ½ stars out of 5
uNCOILEd
Austinmer Dance Theatre
Choreographers: Molly Erin Fitzpatrick, Michelle Forte, Melissa Jane Pinn and Maurice Causey
Dancers: Molly Fitzpatrick, Melissa Jane Pinn, Olivia Hutchinson Smith, Jodie Toogood, Sophie Wighton, Rhiannon Davies
Phoenix Theatre, Coniston
15 – 16 December
Pinchgut's Castor and Pollux
http://au.artshub.com/au/news-article/reviews/performing-arts/castor-and-pollux-193126
This year’s eagerly awaited production by Pinchgut Opera was the Australian premiere of Jean-Philippe Rameau’s Castor and Pollux (the revised 1754 version rather than the 1737 original). The singing was excellent, and the Baroque music (played on mostly period instruments by the Orchestra of the Antipodes under the dynamic leadership of Antony Walker) was exquisite and ravishing.
Rameau (1683-1764) was a French composer who wrote for the court; at one point of his career he was known more as a music theoretician than a composer. He wrote both opera and ballets, among other works (he only started writing operas at age 50); the Sydney Dance Company and the ACO used his work in Project Rameau earlier this year.
Castor and Pollux is based on a complicated Greco-Roman myth and tells a story of fraternal love, betrayal, and transformation into celestial bodies. The immortal Pollux (Hadleigh Adams) and mortal Castor (Jeffrey Thompson), twin sons of Jupiter, are both in love with Princess Telaire, who returns Castor’s love. Castor is killed in battle, protecting Telaire from a possible abduction. Pollux travels to the Underworld and offers to take his brother’s place among the dead. After a passionate debate over who will live or die, the brothers are reunited in a sort of happy ending as Jupiter transforms both of them into the constellation of Gemini.
The Pinchgut production has a sparse, futuristic, geodesic dome set, almost like a space station on the moon, and also features a very high platform for Jupiter’s imposing appearance. The set also features large black benches that are shifted at various points of the performance, representing the banks of the Styx, court chairs, etc.
The women wore long, Greco- Roman shifts, mostly in grey-blue although the character of Phoebe wore red and Telaire gold. The chorus of men mostly wore blue shirts and dark trousers. Castor and Pollux were dressed darkly alike, with sparkly trousers.
The chorus (Cantillation) are in effect a strong character themselves, with splendid singing. At various times they represented courtiers in the palace, nymphs or shepherds, and also the writhing veiled demons of the Underworld. The two dancers (Sean Marcs and Adam Murray) gave great performances, representing wrestlers and celebrity athletes. Ash Bee’s choreography was stylized, with lots of formal frieze- like elements. Cantillation at one point performed a round dance of celebration, and there is a sultry performance by the female members as the Pleasures.
Jeffrey Thompson as Castor was most impressive. At times he had a silken yet reptilian way of moving. His ‘Ah amour’ was a big joyous show-off solo and his duet towards the end with Pollux was marvellous. His ‘Sejour de l’eternalle paix’ was sorrowful, lyrical and yearning.
His brother, darkly handsome Pollux, King of Sparta, was sensationally played by Hadleigh Adams. He was sweetly tempted by the pleasures of the Elysian Fields that his father conjured up but determined to rescue his brother. His solo in Act One, insisting he will bring his brother back (‘Non c’est en vain' and then shortly after ‘Present des Dieux’) were brilliant.
As Jupiter, Paul Goodwin-Groen was tall and imposing in white and gold. He was dramatically lit from below, and sang spectacularly.
Princess Telaire (Celeste Lazarenko) was stunning in a very rich gold dress and tiara. She sang excellently, handling the challenging, showy arias of impassioned loveliness and grief superbly. Every inch a princess, her ‘Tristes apprets’ was magnificent.
Bitter Phoebe, who can summon the spirits of the dead, was impressively sung by Margaret Plummer.
Mention must also be made of Pascal Herington as the athlete whose solo ‘Fieres trompettes’ comes early in the show; he also played a lively Mercure, compete with wings. Anna Fraser’s performance as Cleone/A follower of Hebe, and A Spirit was also excellent.
Another exciting production by the wonderful Pinchgut Opera.
Rating: 4 stars out of 5
Pinchgut Opera present
Castor and Pollux
Music: Jean-Phillipe Rameau
Libretto: Pierre-Joseph Bernard (1754 version)
Conductor: Antony Walker
Director: Kate Gaul
Music Preparation: Erin Helyard
Assistant Director: Paulo Montoya
Choreographer: Ash Bee
Set Designer: Andy McDonnell
Costume Designer: Jasmine Christie
Lighting Designer: Luiz Pampolha
With the Orchestra of the Antipodes and Cantillation
Cast: Jeffrey Thompson, Hadleigh Adams, Celeste Lazarenko,
Margaret Plummer, Anna Fraser, Pascal Herrington, Mark Donnelly and Paul Goodwin-Groen
Running time: 2 hours 50 mins (approx) including interval
City Recital Hall Angel Place, Sydney
6 – 10 December
Rameau (1683-1764) was a French composer who wrote for the court; at one point of his career he was known more as a music theoretician than a composer. He wrote both opera and ballets, among other works (he only started writing operas at age 50); the Sydney Dance Company and the ACO used his work in Project Rameau earlier this year.
Castor and Pollux is based on a complicated Greco-Roman myth and tells a story of fraternal love, betrayal, and transformation into celestial bodies. The immortal Pollux (Hadleigh Adams) and mortal Castor (Jeffrey Thompson), twin sons of Jupiter, are both in love with Princess Telaire, who returns Castor’s love. Castor is killed in battle, protecting Telaire from a possible abduction. Pollux travels to the Underworld and offers to take his brother’s place among the dead. After a passionate debate over who will live or die, the brothers are reunited in a sort of happy ending as Jupiter transforms both of them into the constellation of Gemini.
The Pinchgut production has a sparse, futuristic, geodesic dome set, almost like a space station on the moon, and also features a very high platform for Jupiter’s imposing appearance. The set also features large black benches that are shifted at various points of the performance, representing the banks of the Styx, court chairs, etc.
The women wore long, Greco- Roman shifts, mostly in grey-blue although the character of Phoebe wore red and Telaire gold. The chorus of men mostly wore blue shirts and dark trousers. Castor and Pollux were dressed darkly alike, with sparkly trousers.
The chorus (Cantillation) are in effect a strong character themselves, with splendid singing. At various times they represented courtiers in the palace, nymphs or shepherds, and also the writhing veiled demons of the Underworld. The two dancers (Sean Marcs and Adam Murray) gave great performances, representing wrestlers and celebrity athletes. Ash Bee’s choreography was stylized, with lots of formal frieze- like elements. Cantillation at one point performed a round dance of celebration, and there is a sultry performance by the female members as the Pleasures.
Jeffrey Thompson as Castor was most impressive. At times he had a silken yet reptilian way of moving. His ‘Ah amour’ was a big joyous show-off solo and his duet towards the end with Pollux was marvellous. His ‘Sejour de l’eternalle paix’ was sorrowful, lyrical and yearning.
His brother, darkly handsome Pollux, King of Sparta, was sensationally played by Hadleigh Adams. He was sweetly tempted by the pleasures of the Elysian Fields that his father conjured up but determined to rescue his brother. His solo in Act One, insisting he will bring his brother back (‘Non c’est en vain' and then shortly after ‘Present des Dieux’) were brilliant.
As Jupiter, Paul Goodwin-Groen was tall and imposing in white and gold. He was dramatically lit from below, and sang spectacularly.
Princess Telaire (Celeste Lazarenko) was stunning in a very rich gold dress and tiara. She sang excellently, handling the challenging, showy arias of impassioned loveliness and grief superbly. Every inch a princess, her ‘Tristes apprets’ was magnificent.
Bitter Phoebe, who can summon the spirits of the dead, was impressively sung by Margaret Plummer.
Mention must also be made of Pascal Herington as the athlete whose solo ‘Fieres trompettes’ comes early in the show; he also played a lively Mercure, compete with wings. Anna Fraser’s performance as Cleone/A follower of Hebe, and A Spirit was also excellent.
Another exciting production by the wonderful Pinchgut Opera.
Rating: 4 stars out of 5
Pinchgut Opera present
Castor and Pollux
Music: Jean-Phillipe Rameau
Libretto: Pierre-Joseph Bernard (1754 version)
Conductor: Antony Walker
Director: Kate Gaul
Music Preparation: Erin Helyard
Assistant Director: Paulo Montoya
Choreographer: Ash Bee
Set Designer: Andy McDonnell
Costume Designer: Jasmine Christie
Lighting Designer: Luiz Pampolha
With the Orchestra of the Antipodes and Cantillation
Cast: Jeffrey Thompson, Hadleigh Adams, Celeste Lazarenko,
Margaret Plummer, Anna Fraser, Pascal Herrington, Mark Donnelly and Paul Goodwin-Groen
Running time: 2 hours 50 mins (approx) including interval
City Recital Hall Angel Place, Sydney
6 – 10 December
Tuesday 27 November 2012
Sunset Boulevard
This was awesome a total knockout
here's my review for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1299
here's my review for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1299
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Chitty Chitty Bang Bang
Much fun was had by all . A marvellous family muscial .This is waht I thought for artshub
http://au.artshub.com/au/news-article/-/s/-/chitty-chitty-bang-bang-192820
The much-loved family musical Chitty Chitty Bang Bang has been spectacularly transferred to the stage of Sydney’s Capitol Theatre, and received an ecstatic standing ovation from an almost full house at the gala premiere on Saturday night.
Based on the treasured family movie of 1968, which itself was loosely based on Ian Fleming’s 1964 children’s novel, Chitty Chitty Bang Bang tells the story of Caratacus Potts (David Hobson); a widowed, eccentric inventor who lives with his two children, Jeremy and Jemima, and his elderly, equally eccentric father. After seeing the children playing in a junkyard with an old rusted car, Potts buys the vehicle and rebuilds it – making some improvements of his own along the way and dubbing the car ‘Chitty Chitty Bang Bang’.
As the story unfolds the car is revealed to possess a number of unique qualities – not the least of which is the ability to fly.
Soon the Potts meet leading lady Truly Scrumptious (Rachel Beck), who accompanies the family on a picnic and helps them rescue Grandpa Potts and Chitty Chitty Bang Bang from the clutches of the evil Baron and Baroness Bomburst of Vulgaria. Along the way we meet an evil Childcatcher and a pair of silly spies, while enjoying various enchanting and exuberant musical numbers, before the story eventually – as such stories do – ends happily and well.
Technically, this is a truly impressive production, featuring some magnificent stage effects – not only Chitty Chitty Bang Bang herself, but also several of Potts’ many inventions.
The cast is excellent, and as Hobson and Beck especially are such splendid singers, the show has quite an operatic feel in parts – an impression which is added to by the huge chorus of ‘lost’ children in Act Two.
Caratacus Potts is magnificently played by David Hobson (making the switch from opera to musical theatre); he carries the show superbly and steals the scene every chance he gets. Special mention must be made of the glorious way he sings ‘Hushabye Mountain’ and throws himself into the rollicking ‘Me Ol’ Bamboo’.
Rachel Beck is sweetly elegant, feisty and determined as the show’s romantic interest. Her ‘Lovely, Lonely Man’ and ‘Doll on a Music Box’ are sensational.
Peter Carroll has a wonderful time as the gruff, charming Grandpa Potts, especially in the songs ‘Posh’ and ‘The Roses of Success ‘
Comic relief was provided by audience favourites, the ridiculous spies Boris and Goran (George Kapinairis and Todd Goddard) who appear in assorted ‘disguises’ and silly situations.
Much fun was had by the marvellously petulant and childish Baron Bomburst of Vulgaria (Alan Brough) and his scheming, narcissistic, delightfully wicked, child-hating wife, the Baroness (Jennifer Vuleric ). They were resplendent in red costumes, and displayed excellent comic timing in their delicious ‘Chu-Chi Face’.
Hold tightly and protectively onto your children when Tyler Coppin as the devilish Childcatcher is around. He is brilliantly, malevolently evil, quite frightening at times, and has a spectacular solo.
Caratacus Potts’ children Jeremy and Jemima were enchantingly played by Max Walburn and Ashleigh Ross.
Dana Jolly’s choreography sparkles throughout.
While Chitty Chitty Bang Bang herself behaved beautifully (and received several curtain calls at the end of the evening) there were a few minor technical hitches on opening night, but the audience mostly ignored them and surrendered to having a marvellous time.
A terrific musical, and much fun for everyone (though given its long running time, evening performances many not be ideal for very small children).
Rating: 4 stars out of 5
Chitty Chitty Bang Bang
Music and lyrics by Richard M Sherman and Robert B Sherman
Adapted for the stage by Jeremy Sams and Ray Roderick
Directed by Roger Hodgman
Musical director/conductor: Peter Casey
Sound design: Kelvin Gedye
Scenic and costume designer: Anthony Ward
Lighting designer: Matt Scott
Choreographer: Dana Jolly
Cast includes: David Hobson, Rachel Beck, Alan Brough, Jennifer Vuleric, George Kapinairis, Peter Carroll, Todd Goddard, Tyler Coppin, Max Walburn, Ashleigh Ross, Philip Gould, Tony Farrell and Sonia Carter
Running time: 2 hours 40 mins (approx) including one interval
Capitol Theatre, Sydney
17 November 2012 – 13 January 2013
http://au.artshub.com/au/news-article/-/s/-/chitty-chitty-bang-bang-192820
The much-loved family musical Chitty Chitty Bang Bang has been spectacularly transferred to the stage of Sydney’s Capitol Theatre, and received an ecstatic standing ovation from an almost full house at the gala premiere on Saturday night.
Based on the treasured family movie of 1968, which itself was loosely based on Ian Fleming’s 1964 children’s novel, Chitty Chitty Bang Bang tells the story of Caratacus Potts (David Hobson); a widowed, eccentric inventor who lives with his two children, Jeremy and Jemima, and his elderly, equally eccentric father. After seeing the children playing in a junkyard with an old rusted car, Potts buys the vehicle and rebuilds it – making some improvements of his own along the way and dubbing the car ‘Chitty Chitty Bang Bang’.
As the story unfolds the car is revealed to possess a number of unique qualities – not the least of which is the ability to fly.
Soon the Potts meet leading lady Truly Scrumptious (Rachel Beck), who accompanies the family on a picnic and helps them rescue Grandpa Potts and Chitty Chitty Bang Bang from the clutches of the evil Baron and Baroness Bomburst of Vulgaria. Along the way we meet an evil Childcatcher and a pair of silly spies, while enjoying various enchanting and exuberant musical numbers, before the story eventually – as such stories do – ends happily and well.
Technically, this is a truly impressive production, featuring some magnificent stage effects – not only Chitty Chitty Bang Bang herself, but also several of Potts’ many inventions.
The cast is excellent, and as Hobson and Beck especially are such splendid singers, the show has quite an operatic feel in parts – an impression which is added to by the huge chorus of ‘lost’ children in Act Two.
Caratacus Potts is magnificently played by David Hobson (making the switch from opera to musical theatre); he carries the show superbly and steals the scene every chance he gets. Special mention must be made of the glorious way he sings ‘Hushabye Mountain’ and throws himself into the rollicking ‘Me Ol’ Bamboo’.
Rachel Beck is sweetly elegant, feisty and determined as the show’s romantic interest. Her ‘Lovely, Lonely Man’ and ‘Doll on a Music Box’ are sensational.
Peter Carroll has a wonderful time as the gruff, charming Grandpa Potts, especially in the songs ‘Posh’ and ‘The Roses of Success ‘
Comic relief was provided by audience favourites, the ridiculous spies Boris and Goran (George Kapinairis and Todd Goddard) who appear in assorted ‘disguises’ and silly situations.
Much fun was had by the marvellously petulant and childish Baron Bomburst of Vulgaria (Alan Brough) and his scheming, narcissistic, delightfully wicked, child-hating wife, the Baroness (Jennifer Vuleric ). They were resplendent in red costumes, and displayed excellent comic timing in their delicious ‘Chu-Chi Face’.
Hold tightly and protectively onto your children when Tyler Coppin as the devilish Childcatcher is around. He is brilliantly, malevolently evil, quite frightening at times, and has a spectacular solo.
Caratacus Potts’ children Jeremy and Jemima were enchantingly played by Max Walburn and Ashleigh Ross.
Dana Jolly’s choreography sparkles throughout.
While Chitty Chitty Bang Bang herself behaved beautifully (and received several curtain calls at the end of the evening) there were a few minor technical hitches on opening night, but the audience mostly ignored them and surrendered to having a marvellous time.
A terrific musical, and much fun for everyone (though given its long running time, evening performances many not be ideal for very small children).
Rating: 4 stars out of 5
Chitty Chitty Bang Bang
Music and lyrics by Richard M Sherman and Robert B Sherman
Adapted for the stage by Jeremy Sams and Ray Roderick
Directed by Roger Hodgman
Musical director/conductor: Peter Casey
Sound design: Kelvin Gedye
Scenic and costume designer: Anthony Ward
Lighting designer: Matt Scott
Choreographer: Dana Jolly
Cast includes: David Hobson, Rachel Beck, Alan Brough, Jennifer Vuleric, George Kapinairis, Peter Carroll, Todd Goddard, Tyler Coppin, Max Walburn, Ashleigh Ross, Philip Gould, Tony Farrell and Sonia Carter
Running time: 2 hours 40 mins (approx) including one interval
Capitol Theatre, Sydney
17 November 2012 – 13 January 2013
New Theatre's The Venetian Twins
a wonderful production here's what I said for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1297
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1297
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Sasha Regan's Pirates of Penzance
an absolutely fabulous version
here's what I said for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1291
here's what I said for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1291
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Prime Orderly
a very exciting peice at Parramatta
here's what I said for artshub
http://au.artshub.com/au/news-article/-/s/-/prime-orderly-192490
here's what I said for artshub
http://au.artshub.com/au/news-article/-/s/-/prime-orderly-192490
Two visually exciting, compelling and challenging works by Dean Walsh were recently presented under the umbrella title of Prime: Orderly as part of Dance Bites, presented by FORM at Parramatta.
Both were inspired by Walsh’s love of scuba diving and concern for the environment, and distil two years of research by the Australia Council Dance Fellow into a choreographic study of marine environments. This research has also led Walsh to develop a new choreographic scoring system.
First came the sensational An Enemy, featuring the use of the Sensory Dive Memory Suit (SMDS), its ‘body’ suspended on a series of wires, as if in a spider’s web. The suit examined possibilities on the various stages of descent, neutral buoyancy, trimming and pivoting. Most of the work involved a mysterious underwater creature in a totally masking suit of purple or blue velvet-like material, and thrashing, twisting floor work.
Eventually the SMDS is cut free and then dragged and dumped like sea rubbish and netting. The masked sea creature gives a short podium speech about sharks. Then suddenly, to a strange pulsating soundtrack, he is caught and lifted – like a fish – by two mysterious humans in yellow rain ponchos. Flopping and flapping, the creature is then stripped and re-dressed by the two humans, and is left in black trousers with his head heavily wrapped and masked in black. Next comes a powerful, shaky, angular solo with balloons partly filled with ‘blood’ where the choreographic emphasis is on the shoulders and arm isolation movements and the creature dies, entangled in fishing nets.
There was stunned, appreciative silence but no chance for applause as Judith McDonald of Scuba Warehouse Parramatta was hurriedly introduced and she gave a short inspiring speech.
Under Pressure after interval reflected the timeline of a dive. In this work the three performers are all miked up, resulting in a (sometimes over-amplified) soundscape of breathing. The soundscape for this work also features beeps, hums, whistles, snaps, taps etc, again as if experienced on a dive.
Under Pressure begins almost without the audience realizing, as the three cast members, all in casual blue outfits, ‘flipped overboard’ one at a time and began to ‘dive’. Walsh’s choreography especially at the beginning, uses lots of rolling floor work. There are off balance poses and some fabulous sculptural pas de deux and pas de trois. Diving hand signals are also incorporated.
Sometimes the dancers seem like floating, rippling jellyfish. There is considerable use of straight outstretched arms and Walsh’s choreography demands at times an almost impossibly flexible back.
The set is dominated by three crumpled sculptural heaps of silver foil which turn out to also include lots of silver inflatable balloons. Walsh makes a comment on human destruction of the environment and disposability as the balloons are inflated, tossed, collected up and eventually thrown into the huge fishing net. Other large balloons are also inflated and used to symbolise both the lungs of the diver and diving equipment .Speech is also included as the cast towards the end talk about various exciting dives and the marine environment.
For both works the lighting was eerie and ominous, glowing with the occasional flash of light, as if we were sinking underwater.
An enthralling program combining dance and science, which raised major concerns about the preservation of the marine environment.
4 stars out of 5
Prime: Orderly
Choreographer: Dean Walsh
Performers: Dean Walsh, Natalie Aytobn, Kathryn Puie
Lighting: Mikey Rice
Music: ‘Indigo’ by Henke Roberty; ‘Skodde’ by Dahl G/Sagevik R; ‘Module 4’, ‘Module 10’ by Alva Noto; ‘Gulf Night’ by Nicolai Carsten
Set design, sound recorder and mixer: Dean Walsh
1. An Enemy – quartet performance. Dean Walsh with two faceless beings and an environmental entity known as SDMS
2. Under Pressure – trio: Dean Walsh, Natalie Ayton and Kathyrn Puie
Running time: one hour 40 minutes (approx) including interval
Parramatta Riverside Theatre
25 - 27 October
Both were inspired by Walsh’s love of scuba diving and concern for the environment, and distil two years of research by the Australia Council Dance Fellow into a choreographic study of marine environments. This research has also led Walsh to develop a new choreographic scoring system.
First came the sensational An Enemy, featuring the use of the Sensory Dive Memory Suit (SMDS), its ‘body’ suspended on a series of wires, as if in a spider’s web. The suit examined possibilities on the various stages of descent, neutral buoyancy, trimming and pivoting. Most of the work involved a mysterious underwater creature in a totally masking suit of purple or blue velvet-like material, and thrashing, twisting floor work.
Eventually the SMDS is cut free and then dragged and dumped like sea rubbish and netting. The masked sea creature gives a short podium speech about sharks. Then suddenly, to a strange pulsating soundtrack, he is caught and lifted – like a fish – by two mysterious humans in yellow rain ponchos. Flopping and flapping, the creature is then stripped and re-dressed by the two humans, and is left in black trousers with his head heavily wrapped and masked in black. Next comes a powerful, shaky, angular solo with balloons partly filled with ‘blood’ where the choreographic emphasis is on the shoulders and arm isolation movements and the creature dies, entangled in fishing nets.
There was stunned, appreciative silence but no chance for applause as Judith McDonald of Scuba Warehouse Parramatta was hurriedly introduced and she gave a short inspiring speech.
Under Pressure after interval reflected the timeline of a dive. In this work the three performers are all miked up, resulting in a (sometimes over-amplified) soundscape of breathing. The soundscape for this work also features beeps, hums, whistles, snaps, taps etc, again as if experienced on a dive.
Under Pressure begins almost without the audience realizing, as the three cast members, all in casual blue outfits, ‘flipped overboard’ one at a time and began to ‘dive’. Walsh’s choreography especially at the beginning, uses lots of rolling floor work. There are off balance poses and some fabulous sculptural pas de deux and pas de trois. Diving hand signals are also incorporated.
Sometimes the dancers seem like floating, rippling jellyfish. There is considerable use of straight outstretched arms and Walsh’s choreography demands at times an almost impossibly flexible back.
The set is dominated by three crumpled sculptural heaps of silver foil which turn out to also include lots of silver inflatable balloons. Walsh makes a comment on human destruction of the environment and disposability as the balloons are inflated, tossed, collected up and eventually thrown into the huge fishing net. Other large balloons are also inflated and used to symbolise both the lungs of the diver and diving equipment .Speech is also included as the cast towards the end talk about various exciting dives and the marine environment.
For both works the lighting was eerie and ominous, glowing with the occasional flash of light, as if we were sinking underwater.
An enthralling program combining dance and science, which raised major concerns about the preservation of the marine environment.
4 stars out of 5
Prime: Orderly
Choreographer: Dean Walsh
Performers: Dean Walsh, Natalie Aytobn, Kathryn Puie
Lighting: Mikey Rice
Music: ‘Indigo’ by Henke Roberty; ‘Skodde’ by Dahl G/Sagevik R; ‘Module 4’, ‘Module 10’ by Alva Noto; ‘Gulf Night’ by Nicolai Carsten
Set design, sound recorder and mixer: Dean Walsh
1. An Enemy – quartet performance. Dean Walsh with two faceless beings and an environmental entity known as SDMS
2. Under Pressure – trio: Dean Walsh, Natalie Ayton and Kathyrn Puie
Running time: one hour 40 minutes (approx) including interval
Parramatta Riverside Theatre
25 - 27 October
West Australian Ballet in Neon Lights
This was great .The WA Ballet dancers are fabulous
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1270
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1270
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Monday 26 November 2012
Freshly Squeezed
A fun exciting show at PACT
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1273
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Tarantula
A most exciting show
here's what I said for artshub
http://au.artshub.com/au/news-article/reviews/performing-arts/tarantula-192335
here's what I said for artshub
http://au.artshub.com/au/news-article/reviews/performing-arts/tarantula-192335
Tarantula
By Lynne Lancaster | Monday October 22 2012
Zoe Carides in Tarantula.
Tarantula is a terrific new Australian play about the extraordinary life of femme fatale Lola Montez, the Irish-born dancer and actress who in 1846 became the mistress of King Ludwig I of Bavaria, and later scandalised the Australian gold fields with her erotic ‘Spider Dance’; a voluptuous dance in which she pretended to be looking for a spider in her skirts.
Narratively, the story unfolds as a play within a play within a relationship. Gina (Zoe Carides) is an actress, and is interested in Lola Montez both professionally and personally. She has written a play about Montez, which we see staged in the rehearsal studio.
Various famous incidents in Lola’s life are portrayed, such as her horsewhipping of The Ballarat Times’ editor Henry Seekamp and her life on the Victorian goldfields. Some are bizarre but all, apparently, are true.
Tarantula opens with Terry (Michael Whalley) as Lola’s lover, Noel Follard, who disappeared mysteriously from the ship the J.A. Falkenburg en route to California in 1856.Did Lola push him overboard? Did he fall off, drunk? Did he jump? Gina wants to know why and how he disappeared, if it is at all possible to know. Lola is a major suspect, but it is the atmosphere in the rehearsal room that becomes important as we see Gina’s relationship with Terry drastically change.
One of the main themes of Alana Valentine’s play is Lola’s significance as a feminist role model. Also important is the issue of older women’s sexuality, self acceptance and independence. ‘Desire is a tarantula and it bites,’ as Gina/Lola says. Her ‘Spider Dance’ is often referred to, and performed (with choreography by Julia Cotton); used as a symbol of convention and of Lola’s continual defiance, as well as a symbol of female desire. Ageism, sexism and clichéd gender stereotypes are all discussed in depth from Gina and Terry’s opposite viewpoints.
Zoe Carides as Lola is magnificent. She gives a stirring, bewitching performance in her red and gold dress. The handsome, youthful-looking Michael Whalley in the male roles is tremendous, a real lady killer as Terry. Both obviously have a whale of a time.
Sarah-Jane McAllan’s abstract set design of light cotton drapes links in with Montez’s tour of the Victorian goldfields and helps create the intimate rehearsal room atmosphere. Martin Cook’s lighting is extremely effective, and Richard Mills’ music is terrific.
An excellent production of a marvellous new Australian play, showcasing some great performances.
Rating: 4 stars out of 5
Tarantula
By Alana Valentine
Director/Producer: Nastassja Djalog
Designer: Sarah-Jane Mcallan
Lighting Designer: Marcus Cook
Costumes: Beth Allen
Choreography: Julia Cotton
With: Zoe Carides and Michael Whalley
Running time: 90 mins (approx) no interval
King St. Theatre, Newtown
9 October – 3 November
Narratively, the story unfolds as a play within a play within a relationship. Gina (Zoe Carides) is an actress, and is interested in Lola Montez both professionally and personally. She has written a play about Montez, which we see staged in the rehearsal studio.
Various famous incidents in Lola’s life are portrayed, such as her horsewhipping of The Ballarat Times’ editor Henry Seekamp and her life on the Victorian goldfields. Some are bizarre but all, apparently, are true.
Tarantula opens with Terry (Michael Whalley) as Lola’s lover, Noel Follard, who disappeared mysteriously from the ship the J.A. Falkenburg en route to California in 1856.Did Lola push him overboard? Did he fall off, drunk? Did he jump? Gina wants to know why and how he disappeared, if it is at all possible to know. Lola is a major suspect, but it is the atmosphere in the rehearsal room that becomes important as we see Gina’s relationship with Terry drastically change.
One of the main themes of Alana Valentine’s play is Lola’s significance as a feminist role model. Also important is the issue of older women’s sexuality, self acceptance and independence. ‘Desire is a tarantula and it bites,’ as Gina/Lola says. Her ‘Spider Dance’ is often referred to, and performed (with choreography by Julia Cotton); used as a symbol of convention and of Lola’s continual defiance, as well as a symbol of female desire. Ageism, sexism and clichéd gender stereotypes are all discussed in depth from Gina and Terry’s opposite viewpoints.
Zoe Carides as Lola is magnificent. She gives a stirring, bewitching performance in her red and gold dress. The handsome, youthful-looking Michael Whalley in the male roles is tremendous, a real lady killer as Terry. Both obviously have a whale of a time.
Sarah-Jane McAllan’s abstract set design of light cotton drapes links in with Montez’s tour of the Victorian goldfields and helps create the intimate rehearsal room atmosphere. Martin Cook’s lighting is extremely effective, and Richard Mills’ music is terrific.
An excellent production of a marvellous new Australian play, showcasing some great performances.
Rating: 4 stars out of 5
Tarantula
By Alana Valentine
Director/Producer: Nastassja Djalog
Designer: Sarah-Jane Mcallan
Lighting Designer: Marcus Cook
Costumes: Beth Allen
Choreography: Julia Cotton
With: Zoe Carides and Michael Whalley
Running time: 90 mins (approx) no interval
King St. Theatre, Newtown
9 October – 3 November
Sunday 14 October 2012
One of the silliest, funniest shows I have seen in ages
here's my Sydney Arts Guide reveiw
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1256
Witches, wizards and Muggles of all ages will love this magical, hilarious riot. The house was in hysterical fits of laughter the whole show. Some audience members wore wizard robes.
‘The un authorised Harry experience’, it is for Harry Potter fans of all ages .It is I suppose best if you and love the books and movies and have a yearning to study or teach at Hogwarts . In ‘Reduced Shakespeare ‘/’One Man Lord of the Rings’ style it is an epic, witty distillation of the seven books by JK Rowling and follow Harry’s life and adventures at Hogwarts.
The over three hundred characters in the books are here all played by two magnificent actors: Jesse Briton and Garry Trainor in exuberant form. This is the terrific Sydney cast of a show that originally began as a five minute skit in London in 2005.
Developed by Daniel Clarkson and Jefferson Turner, it has packed out audiences in London, Edinburgh and Canada , is nominated for Olivier awards and now is touring internationally. Fast paced, madcap and witty, the Potter books are treated and distilled with massive love and respect but the jokey, improvised feel is still there.
The set at the beginning has a large soft toy nursery version of a train engine , doubling as the famous Hogwart’s Express .There are also sheet covered mysterious items eventually revealed as a coffin ( spooky ) – relating to the darker side of the books , a wardrobe ( that opens for a blank screen) and a brightly painted flat for The Forbidden Forest .
Slighter taller, thinner Briton appears to be the more ‘zany’ of the two and has great fun playing an enormous number of characters with different wigs, props, voices etc. Including an authoritatively wicked Lord Voldemort (ssshhh – You Know Who) with devil’s horns.
Trainor mostly plays Harry and is seemingly the more controlled and responsible one. Both act as narrator in parts and are identically dressed in blue jeans and a black tshirt .Both are extremely energetic and flexible and obviously have a whale of a time, performing with great comic timing and dexterity.
Much fun is had with puppetry for a couple of the characters (eg Dobby) and there is great use of a powerpoint/cgi screen effect to whizz us through Book 3 . There is also very effective ‘magical ‘ lighting at times ( eg the Deluminator , and the wizard duels. ).
There are so many highlights but special mention must be made of the various appearances of Ron Weasley , Hermoine Grainger , Dobby the house elf, Hagrid, Sirius Black and Dumbledore among others. And the fabulous Quidditch game that has the whole audience participating is glorious fun. (The appearance of the ‘golden snitch ‘is a hilarious show stopper).
The finale, with the duet by Harry and Voldemort to ‘I Will Survive’ is a wickedly witty way to end the show . Book now.
POTTED POTTER, with a running time of 90 minutes, is playing at the Sydney Theatre between the 9th and 14th October and then tours. For more information visit the website at http://www.pottedpotter.com.au/tour-dates
Tags: Sydney Theatre Reviews- POTTED POTTER, Sydney Theatre, Sydney Theatre, Lynne Lancaster, Sydney Arts Guide
Red at the Ensemble Theatre
An excellent show .. here's my Artshub review
http://www.artshub.com.au/au/news-article/reviews/performing-arts/red-191747
Colin Moody and Stephen James King in RED. Photo by Natalie Boog.
This Ensemble Theatre production of John Logan’s Red – a captivating play about art, life and success – is brilliantly performed by Colin Moody as the brooding Rothko, and Stephen James King as his younger assistant, Ken.
Set in the 1950’s, in Rothko’s cluttered studio, you can literally smell the paint and turpentine that’s used in the show. Unpainted canvas and buckets of paint are everywhere, and prominent is a large blank canvas, waiting...
At the beginning of the show Moody as Rothko is sprawled in a chair, staring at the audience. As the play unfolds, we increasingly see Rothko through his assistant’s eyes. Ken arrives for an interview to become Rothko’s assistant, a position which involves preparing canvases, stretching and priming them, and being a general dogsbody.
From the outset, Ken’s role as Rothko’s assistant, and Rothko’s role as employer, is clearly defined: ‘I am not your rabbi, I am not your father, I am not your shrink, I am not your friend, I am not your teacher,' Rothko insists. Yet over the next two years of the play’s time frame, Rothko in some ways plays all those roles, and Ken learns how to deal with Rothko’s extremely unpredictable temper.
Rothko is cold, dominating and assertive. He demands, snaps, lectures and bullies Ken. We learn about Rothko’s attitude towards his contemporaries and rivals, such as Jackson Pollock and Roy Lichtenstein. We learn of Rothko’s ideas on art and colour as inspired by great artists such as Van Gogh, Rembrandt, Goya and Matisse, and also how his Jewishness has shaped his perceptions. As Rothko, Moody is powerful, hypnotic, intense and electric.
We also learn more about Ken, and how his parents were murdered in a pained, tragic monologue which King delivers excellently.
Ken acts as a provocative sounding board for Rothko’s theories on life and art. One powerful scene between them features a great discussion about the ‘meaning’ and ‘emotion’ of colour – the various shades of red, black and white, for example .Why is black regarded as bad luck and linked to death? Another depicts the two exuberantly, almost choreographically, priming a huge canvas with a particular shade of red (Ken calls it ‘dried blood’).
Red is all about looking; the artist’s ‘eye’, and the struggle to depict what is seen in the imagination on canvas. It also explores the struggle to live creatively, and raises questions about art and morality. Rothko is working on a major commission for the posh Four Seasons restaurant. Is he selling out and succumbing to commercialism, against all his principles, or revealing his soul?
An enthralling play about the meaning of life and art and the search for truth.
Rating: 4 stars out of 5
Red
By John Logan
Director: Mark Kilmurry
Assistant Director: Brian Meegan
Designer: Lucilla Smith
Lighting Designer: Nick Higgins
Wardrobe Coordinator: Lisa Mimmocchi
Dialect Coach: Natasha McNamara
With Colin Moody and Stephen James King
Running time: 90 mins (approx) no interval The Ensemble Theatre, Kirribilli
September 6 – October 6
By John Logan
Director: Mark Kilmurry
Assistant Director: Brian Meegan
Designer: Lucilla Smith
Lighting Designer: Nick Higgins
Wardrobe Coordinator: Lisa Mimmocchi
Dialect Coach: Natasha McNamara
With Colin Moody and Stephen James King
Running time: 90 mins (approx) no interval The Ensemble Theatre, Kirribilli
September 6 – October 6
lynne lancaster the lunch hour
A Darlinghurst Theatre review for Sydney Arts Guide
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1236
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1236
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NDT in Move to Move
here's my Sydney Arts Guide thoughts ...
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1223
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1223
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Clouds Over Berlin
This was part of Spring Dance ... here's what I thought for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/clouds-above-berlin-191391
Antony Hamilton and Melanie Lane in Black Project 1. Photo: Jess Bialek.
http://www.artshub.com.au/au/news-article/reviews/performing-arts/clouds-above-berlin-191391
News, analysis and comment - performing arts |
Clouds Above Berlin
Programmed as part of this year’s Spring Dance season, Clouds Above Berlin – a challenging and confronting double bill of cutting edge, minimalist, deconstructed dance – consisted of two short works by Australian choreographers Melanie Lane and Antony Hamilton. Responses to the work were polarised: it seemed one was either mesmerised and entranced by the two pieces, or totally tuned out.
First came Lane’s solo, Tilted Faun. Most of the work consisted of Lane, in dark jeans and top, elegantly shifting wooden, brick-sized building blocks, constructing towers and other forms, like a child playing with Lego. Or, in this case an angelic architect rebuilding the shattered and destroyed city of Berlin? According to the program notes, Lane was attempting to ‘explore the relationship between sound, objects and the body. A visual sound installation constructed with an orchestra of tape machines, objects and choreography propels a lone dancer through landscapes that are at times stark, melancholic and dark and mythical’. Well....
Weight and balance were important – at one point Lane carried a large number of blocks and held one with her chin to stop it falling. There were simple arm swings and yoga-like stretches, a block held above her head with arms outstretched. Sometimes she shifted just one block, at other times several simultaneously. There was a lot of use of pause and blackout. A long, slithering body line was developed when shifting the blocks, while at another point Lane seemed to put her arm through a tower of blocks. The music – eclectic beeps, growls, clicks, and bird calls – burbled its accompaniment.
The second work, Black Project 1 resembled a cold, post-apocalyptic vision of humanity. A couple, seemingly covered in grey ash, are revealed in a monochromatic landscape. Their movements are synchronised, often twitchy and robotically puppet-like, and featuring incredibly demanding use of the pelvis and lower back. Some of the movement is lizard-like and slow motion is briefly used. There was also very effective use of floorwork, falls and rolls.
The two dancers used white tape and sprayed graffiti on the back wall like blurry stars to ‘enhance’ the futuristic, bunker-like atmosphere (recalling a previous work by Hamilton, 2008’s Blazeblue Oneline, a merging of hip-hop, graffiti and contemporary dance). CGI swirls were used to great effect, as was white chalk (to draw circles on the floor) and white, reflective face or body paint . Choreographically there was also wonderful, sculptural tree-like posed tableaux with arms as waving branches, and at another point angular rotor-like arm movements.
The electronic music throbbed and pulsated. Special mention must be made of the lighting by Max Stezl. At times very gloomy, at others like searchlights, it was a critical part of the show. In the strange finale the dancers at times, because of the lighting, became almost invisible . It all ended with clouds floating across the set and lighting; a combination of strobe lighting, spinning helicopter blades and throbbing music.
The audience was assaulted, challenged and provoked in this most unusual program.
Rating: 3 ½ stars out of 5
Clouds Above Berlin
Spring Dance 2012
Curated by Rafael Bonachela Tilted Fawn
Choreography, concept, performer: Melanie Lane
Sound composition and installation: Chris Clark
Artistic Collaboration: Margan Belenguer
Dramaturgy: Bart van Der Eynde
Costume, props: Melanie Lane
Lighting: Max Stezl Black Project 1
Choreography, concept, design: Antony Hamilton
Performers: Antony Hamilton, Melanie Lane
Video projection: Olaf Meyer
Set construction and production management: Matthew Scott, megafun
Music: Robert Henke Vaino and Fennesz
Costumes: Antony Hamilton
Producers: Freya Waterson and Lee Cumerlidge, Insight Arts Sydney Opera House
August 29 – September 2
Spring Dance 2012
Curated by Rafael Bonachela Tilted Fawn
Choreography, concept, performer: Melanie Lane
Sound composition and installation: Chris Clark
Artistic Collaboration: Margan Belenguer
Dramaturgy: Bart van Der Eynde
Costume, props: Melanie Lane
Lighting: Max Stezl Black Project 1
Choreography, concept, design: Antony Hamilton
Performers: Antony Hamilton, Melanie Lane
Video projection: Olaf Meyer
Set construction and production management: Matthew Scott, megafun
Music: Robert Henke Vaino and Fennesz
Costumes: Antony Hamilton
Producers: Freya Waterson and Lee Cumerlidge, Insight Arts Sydney Opera House
August 29 – September 2
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