Sydney Dance in The Land of Yes the Land of No at Parramatta

a glorious show here's what I said for Sydney Arts Guide 
http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1133
Ecstatic cheers for this blink and you miss it return season of THE LAND OF YES, THE LAND OF NO at the Parramatta Riverside Theatre.

A plotless, abstract work, the idea behind the production is, according to Bonachela’s program notes, exploring the use of signs and how we navigate in our world. The work was originally developed in 2009 for Bonachela’s London Company and here has been expanded and reworked for a cast of ten.

Some of this performance was luminous, with a fragile beauty like that of a dragonfly’s wing. Other sections were laser sharp with a ‘singing’ white, extended, pure line of movement that sizzled.  

Technically the dancing was superb all round. There was fabulous ensemble work (and perhaps snippets of allusions to Matthew Bourne’s works and Graeme Murphy’s Some Rooms).

Special mention must be made of Juliette Barton’s incredible extended opening solo that was prayer like in its fluid, rolling intensity. Tall Andrew Crawford has a slithery spider like solo that emphasizes his extended long ‘line’. In other sections there were some glorious trios or pas de deux that rippled and shone. In one section there was a marvellous enfolding, sculptural pas de deux (lovers parting?) with hints of pieta-like drama.

Bonachela’s choreography emphasis is on a very fluid articulate back, sometimes held low, strong and straight, at others times contrasted with a demanding, undulating back bend. For this work he also appears to want long extended arms, which sometimes were angular and disjointed then suddenly rippling in contrast. Others sections featured circular repeated phrases of movement. Hands became stars sometimes.

When choreographing for the whole cast, Bonachela often used diagonal lines when placing the dancers and explosive flicks of a long leg extended. Another point of interest was the single sex pas de deux that developed into fluid, sculptural yet arrow sharp pas de trois. Breath control from the solar plexus is all important.  

Alan MacDonald’s stark, simple set features long, hanging neon globes that are lit up at various times or form ‘doorways’ or ‘windows’. Guy Hoare’s lighting is magnificent, often with plain, strong colour backgrounds (e.g. a strong, vibrant red, dark indigo or purple, a sickly green) but also includes a delicate, hesitant glowing sunrise.

Bosso’s score is powerful and hypnotic – at one point featuring pizzicato (for a sensational pas de deux) at another, rippling piano. It ranges from haunting and lyrical to driving and relentless.

Special mention must be made of the glorious costumes designed by Theo Clinkard: all white, but each individual in shape and texture (overlapping layers, smocking, quilting etc). Some of the men’s outfits were vaguely reminiscent of armour. All the outfits flowed and ‘breathed’ with the dancer’s movements.

THE LAND OF YES AND THE LAND OF NO, running an hour and ten minutes without interval, is a mesmerizing, enthralling performance of pure dance.

The show plays the Parramatta Riverside Theatre between the 21st and 23rd June and then tours to Canberra Wagga Wagga Albury Port Macquarie Nowra the Gold Coast and further afield.

For more information visit the website- inhttp://www.sydneydancecompany.com/performances/touring-2011.

© Lynne Lancaster

22nd June, 2012

Tags: Sydney Dance Reviews- THE LAND OF YES AND THE LAND OF NO, Parramatta Riverside Theatre, Rafael Bonachela, Juliette Barton, Andrew Crawford, Alan MacDonald, Guy Hoare, Theo Clinkard, Sydney Arts Guide, Lynne Lancaster.