IOU at IO Myers studio UNSW

another review for artshub
http://www.artshub.com.au/au/news-article/reviews/performing-arts/iou-186253?sc=1
Some absolutely thrilling work featured in this programme of six short works by some of Sydney’s best independent dance makers, who have been connected to the school of English, Media and Performing Arts at the University of New South Wales (UNSW) for several years. Their skills, experience and various work processes have been shared with students and researchers in return for space and time at the Io Myers Studio to develop ideas into the new works which were presented at this performance.
First up was Anton in his powerful, hypnotic piece, Supermodern 2.1. Short, stocky with heavily muscled arms and clad in a black top and tracksuit pants, Anton gave a mesmerizing performance. He started with tiny, twitchy movements that grew and expanded. At times he seemed to be flying but was standing still, trapped in a square of light. Was he being tormented by insomnia or internal demons? Life in a boxing ring? I look forward eagerly to the full length work.
Next came Awaken Absence for Josh, by Craig Bary (almost unrecognisable from his Side to One earlier this year: here Bary was bearded, tall, gangly and all long legs). Tender and intimate, Bary used a chair almost as a lover, wrapping himself around it and enfolding it. The chair was balanced on, jumped on, tossed and caught. Slithery, spider-like movement combined with grounded floor work was contrasted with creamy, smooth movement and some fast, furious turns. Excellent.
This was followed by Martin del Amo’s Disorientation, developed from his earlier work, It’s A Jungle Out There. In blue jeans and top, del Amo used tiny movements, almost like a scared animal, to explore space while caged in a small corridor of light. This work demanded a very flexible, articulate back which del Amo exploited marvellously.
The last work before interval was Narelle Banjamin’s intense and dramatic No Body. Inspired by the Hindu goddess Kali – I also thought of the Biblical Salome and Judith (Caravaggio’s paintings as well) – this work was a mini-Peking Opera in a way. Acrobatics, flamenco and fencing combined with the Northern Kung Fu sword form. Headstands and rolling floorwork were also incorporated, and Benjamin has fabulous feet and a searing arrow of a pointed, thrust leg.
After interval came What Good Is Sitting Alone In Your Room, again by Del Amo, this time clad in a black dress and jazz boots. It was a tribute/deconstruction to Fosse and Cabaret in particular, especially with the angular arms and star hands. There were also allusions to Graeme Murphy’s choreography and Nijinsky’s L’Apres Midi Un Faune. The audience found this work very funny in parts.
Kristina Chan’s Lost and Found began with her trapped sadly in a corner of the room, staring into a wall. There was quite a lot of floorwork and Chan displayed incredible flexibility. A lot of this work was to do with the idea of ‘looking’ or ‘observing’ – a foot, a hand, looking away, looking at the audience (through hands held like glasses) – attempting to discover and comprehend our place in the world .
The final work, Timpothy Ohl’s Jack, was a great crowd pleaser and showcased Ohls’ terrific talent, but for me was a bit disappointing. ‘Jack’ is an entrant in one of those reality TV dance shows currently in vogue. Jack is desperate to win – he is indeed a ‘Jack of all trades’ (or in this instance dance styles). We see bits of ballet, tap, breakdancing, Michael Jackson-like dance, musical theatre. He even sings and plays the ukulele! Amazing, extraordinary stuff, but too disjointed and jumbled.
Collectively, iOU was a fabulous programme that gave us the chance to see some glorious, cutting edge, independent dance work. What was interesting to note as well was the gender balance in the programme, with the men predominating.
Rating: Four stars
Supermodern 2.1: choreographed and performed by Anton
(music: ‘Comfortable Expectations’ from Periphery by Christopher Bissonette)
Awaken Absence for Josh: choreographed and performed by Craig Bary
(music: ‘Velius’ by Helios)
Disorientation: choreographed and performed by Martin Del Amo
(music by Gail Priest)
NoBody...: choreographed and performed by Narelle Benjamin
(music: The Kama Sutra)
What Good Is Sitting Alone In Your Room: choreographed and performed by Martin Del Amo
(music by Gail Priest)
Lost and Found: choreographed and performed by Katrina Chan
(music: ‘Fluten’ from Resonance by Bilwa)
Jack: choreographed and performed by Timothy Ohl
(music: Hot Chip’s ‘Ready for the Floor’; Tugboat’s ‘8-bit’ hip hop medley; Bobby Calwell’s ‘What You Won’t Do For Love’ (DZ remix))
Running time: 90 mins (approx) including interval
Io Myers Studio, UNSW, Kensington Campus
October 28 – 29