A History of Falling Things Ensemble Theatre

A HISTORY OF FALLING THINGS ENSEMBLE THEATRE JULY 2016 Heartwarming , enchanting and quirky this is the latest wonderful production as part of the Ensemble 2016 season. It is directed by Nicole Buffoni with a deft, sure touch. Written in 2009 this is the Australian premiere of this play . Designer Anna Gardiner has concocted a light, bright flexible set fairly simple with steps/ramps either side, a single bed, and a projection space as well .One side of the space is Robin’s house the other Jacqui’s . The projections by Tim Hope are much fun.Jacqui and Robin meet online and then slowly move to the next level – talking via webcam – because neither can leave their homes because of the mortal fear of something falling from above and hitting them.( It’s called Keraunothnetophobia ). As Jacqui ,Sophie Henser is luminous , in a sweetly captivating performance. Young and pretty she is trapped at home by her phobia. We learn that she wants to be well and ‘ back to normal’ and she courageously confronts her fears. Robin however ( as played by terribly handsome Eric Beecroft , blessed with matinee idol good looks) while trying hard is far more affected by his phobia. A shy ,nerdy children’s book author, he spends most of his day hiding under the table . Beecroft delicately balances his vulnerability and charm with a light touch. The chemistry between them is heart warming and while they are fighting their own internal phobias, they acknowledge and are understanding of each other’s problems too and encourage and supportively spur each other on. Both have monologues as to how the phobia began for them ( Jacqui her nightmares after being trapped on the Tube in the London bombings of 7/7 , Robin from a little boy being hit on the head by an unexplained shoe falling from the sky.) Robin has a monologue cataloguing various odd events where things have fallen from the sky ( fish , cows, frogs ,blood for example) yet in a neat ironic twist he isn’t superstitious about opening an umbrella indoors . We follow Jacqui and Robin as they have awkward first meetings , nervous easy miscommunications and several embarrassed tongue-tied moments, but what becomes obvious is their connectedness . We also meet their concerned parents – Jacqui’s supportive, lonely dad Reece, whose wife walked out on him, in a delightfully warm finely nuanced performance by Brian Meegan and stressed but caring Lesley ,Robin’s widowed mother who looks after him, wonderfully played by Merridy Eastman. At one point there is a scene between Jacqui and Lesley . Courier guy Jimmy as played by Sam O’Sullivan at first delivers cards, books etc between Jacqui and Robin and ends up acting as Cupid. Can Jacqui and Robin conquer their fears ? Will love conquer all ? You will have to see the show to find out. A warm , wonderful gently humorous and ultimately moving play about conquering phobias and venturing outside of your comfort zone . Thoroughly recommended Running time – 90 mins (roughly) no interval A History of Falling Things runs at the Ensemble Theatre July 7 - 20 August 2016 PLAYWRIGHT: JAMES GRAHAM DIRECTOR: NICOLE BUFFONI DESIGNER: ANNA GARDINER LIGHTING DESIGNER: CHRISTOPHER PAGE A/V DESIGNER: TIM HOPE WARDROBE: RENATA BESLIK ROBIN Eric Beecroft Jacqui Sophie Henser Reece Brian Meegan Lesley Merridy Eastman Jimmy Sam O’Sullivan

Pete the Sheep

go on... enjoy ! Here's what I said for Artshub http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/pete-the-sheep-251678 A delightful Australian musical for all ages. Image: The cast of Pete the Sheep photograph courtesy Sydney Opera House. A glorious Aussie story for all ages – ​Pete the Sheep will enchant young and old. Providing perfect school holiday fare; Monkey Baa Theatre have brought to the Opera House a magnificent revival of this musical based on Jackie French and Bruce Whatley’s quirky and quintessentially Australian book. It is an inspirational family musical is packed full of toe-tapping tunes. Creatively told by a small cast of four performers who play shearers, dogs and sheep. Shaun is the new sheep shearer in Shaggy Gully. The other shearers have sheep dogs to help them complete their hard work, but not Shaun. His associate is Pete – a sheep-sheep! Rejected by the other shearers and their dogs, Shaun and Pete set up their own elegant Shearing Salon in town where they are flooded with woolly clients, who thrill at Shaun’s styling prowess. It is a tale of change, development and acceptance of the outsider (with possible references in part to Edward Scissorhands). In this musical, Shaun has TAFE qualifications rather than shed experience – giving Phil Scott (musician) the excuse for some very funny lyrics. Tradition clashes with TAFE trained new ideas mixed with Shaun help as a ‘sheep-sheep’. For the adults there are witty in-jokes with references to Lady Gaga and 'real men eat quiche'. With the creative minds of Jonathan Biggins (director of Mr Stink) and musician Phil Scott behind this production, kids will love the fair dinkum story of mateship, following your dreams and being true to yourself – even if it means going against the flock. The wonderful set design is, for most of the play, a shearing shed warm in golden and brown light. Sparse and simple there is a raised level and ramps either side with a double hessian door. The various panels move and revolve to become Shaun’s Sheep Salon with elegant mirrors and a barber’s chair. Musically it is eclectic: from MTV hits, to ballads, opera and fine acapella. Line and tap dancing are also included. The extraordinary multi-talented cast play several roles each; they are delightfully exuberant as the rough sheepdogs, they give good macho as the assorted shearers and hilarious as the bleary eyed, nebulously brained sheep. Ratso, Big Bob and Bungo wear the same navy blue shearers’ singlets as they do in Whatley’s illustrations. As Shaun - (and also in his various roles) Michael Hart wonderfully embodies Shaun the Shearer of the book displaying the vulnerability and fresh faced innocence of Shaun (as shown in French’s book). Pete, his Sheep-sheep, is terrifically played by Tom Sharah – charming and endearing Tom develops a great rapport with the audience. Glorious fun for all ages, Pete the Sheep is an excellent way to introduce children to theatre. Go on, don’t be a dag – book now before you miss it! Rating: 4 stars out of 5 Pete the Sheep MONKEY BAA THEATRE AT SYDNEY OPERA HOUSE Lawrence Coy Big Bob as Brute Michael Hart as Shaun & Fang Andrew James as Ratso & Tiny Tom Sharah as Pete Sydney Opera House 2-17 July 2016

The Water Babies

A most exciting new opera http://www.sydneyartsguide.com.au/the-water-babies-the-seymour-centre/This was presented in a very impressive semi staged ‘’ workshop “ version of the amazing new opera composed by Freddie Hill based on the classic children’s book by Charles Kingsley. The cast sat in rows of chairs onstage when not performing. THE WATER BABIES tells the story of Tom, a persecuted chimney sweep who slips under the water. The story comments on the harshness of Victorian society, child labour and the ethics of the time. Musically it is contemporary is style and multifaceted. It includes elements of jazz, Victorian music hall, Sondheim, perhaps Sullivan and the atonality of Schoenberg. Some of it ripples and bubbles, other parts include lyrical ballads and exciting ensemble work. Hill’s wonderful score was energetically conducted by Rowen Fox, who also also had a minor acting role as Ellie’s tutor, and finely played by an excellent small orchestra gathered on the stage. This production is well directed, finely paced and wonderfully lit by Kyle Stephens. The excellent multi talented ensemble often doubled/tripled roles. Sasha Cole as the young Tom was tremendous both as scruffy Dickensian urchin or in his green reflective unitard as a water baby. He sang terrifically and with great pathos and we keenly follow his character’s growth and development as he discovers love and compassion. Jaye Hayward’s work as the older Tom is highlighted by his delivering of a riveting aria towards the end of the play. The mysterious Narrator was thrillingly played by Carly-Anne Evans although at times she was drowned out by the orchestra. Young Ellie was enchantingly played by Lucia Smith, who was splendid with a lovely light soprano – although this was perhaps a little strained in her big scene with her tutor featuring the ballad It’s All So Beautiful. As the older Ellie Charlotte Campbell was terrific. Campbell excelled in a long demanding aria at the close of the opera which brought everything full circle. The Water Babies themselves, dressed in fairy garb, were an enchanting children’s ensemble who sang delightfully. Skyelar Broxterman was dazzling and resplendent as a fragile dragonfly in Act 1. There was also Elizabeth Hylton as Mrs. Doasyouwouldbedoneby , and Mara Kiek as Mrs Bedonebyasyoudid who emphasize the morals of the novel and watch over Tom’s development. Under the water special mention must be made of at least the following : The Otter was strikingly portrayed by Josephine Truman in a long, brown driving outfit, wearing goggles of the period, sleek and furred, and managed a quite difficult and spiky aria. Lord and Lady Salmon were elegantly portrayed by Jaye Hayward and Kate O’Sullivan, sumptuous in both voice and outfits. I can’t possibly forget the wonderful, pompous rather ironic Lobster solo as portrayed by Samuel Johnson who was in splendid voice. As Lobster he wore a splendid mesh like costume with a tabard over it and a terrific headdress.And then there were the Flamenco dancing crabs using castanets towards the start of the second half! Mr Grimes, Tom’s malevolent , drunken boss was brilliantly sung by Jareth Norman. This was a very exciting workshop performance of Freddie Hill’s opera and hopefully we will see this work get a fully fledged production sometime in the not too distant future. Running time 2 hours 30 including an interval. THE WATER BABIES had one performance only at the Seymour Centre 18 June 2016.

Pinchgut's Armida

Another wonderful production by Pinchgut. Here's my thoughts for Artshub http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/armida-251622 Pinchgut have done it again with a musically and vocally ravishing production of the now rarely seen Baroque Opera Armida by Haydn (1784). It is based on Torquato Tasso’s sixteenth century story, ostensibly about the Crusades, but this opera is more about love, loss, deception, magic and war. Rinaldo, a crusading knight, has been seduced by the Syrian sorceress Armida. He is kept in her uncle Idrino’s castle in a semi-comatose state somewhat similar to that of Odysseus’ sailors in Circe’s palace. It was a hit in its day but languished in obscurity until the late 20th century. There are perhaps hints of Sarti and Gluck in the score. The Orchestra of the Antipodes on their period instruments were splendid under the beaming – with the enthusiastic yet crisply precise baton of Maestro Antony Walker. Finely nuanced the Orchestra had zestful attack and energetic momentum with great dramatic tension. Director Crystal Manich, with a deft light but sure touch, wants us to explore the character’s internal worlds and emotions instead of focusing on other outside issues like politics, religion, war and power. Alicia Clement’s set design was most effective with an upper level balcony for dramatic appearances and Armida’s myrtle tree lair. There is a staircase descending to a wintry, battle scarred stage with dead trees and tangles of upended chairs. Lighting by Matthew Marshall was at times lyrical and delicate and at others storm tossed. Costumes are 'timeless' yet of the era. The singers were all terrific with fine ensemble work and surtitles were provided with an excellent translation provided in the programme. The sorceress Armida was terrifically portrayed by stunning soprano Rachelle Durkin. At the start of the opera she is elegant and has glittering mask-like makeup. At the end she has black sap-like markings, representing her magic myrtle tree bleeding – and also her furious heart. She has several amazing arias throughout the show (in the second half: scene seven her aria beginning 'Barbaro! E ardisci ancor' soared). She has incredible range; dynamically controlled with focused clarity. We see her emotions broil from softened love and sweet charming seduction to furious anger, stormy like The Queen of the Night in Mozart’s The Magic Flute. Coloratura fireworks were contrasted with lyrically shaped segments to suit what was demanded by the moment. Her vengeance aria, 'Odio, furor, dispetto' is another showstopper and superbly sung. Durkin and Aruhn- Solen blended thrillingly in a coloratura duet. Our dithering hero Prince Rinaldo was splendidly sung and acted by Leif-Arun Solen. Bewitched by the sorceress Armida he is torn between love and duty. He has several show stopping scene /arias, just one example is in the second half when he is trying to steel himself yet again to break away from Armida and rejoin his army and friends. Ravishing; his expressive intensity made Rinaldo’s many changes of heart appear convincing. Zelmira, Armida’s attendant was magnificently sung by radiant soprano Janet Todd. Her major scene in Act 2 when she tries to distract Idreno was terrific. She lushly blends both lyric and coloratura soprano to effortlessly create lyrical yet demanding high-register passages creamily sung.The tall bearded ursine knight Ubaldo, one of Rinaldo’s friends, was splendidly sung by Jacob Lawrence. His other friend, darkly handsome Clotarco as portrayed by Brenton Spiteri with his bright tenor was also excellent. The villain of the piece: scheming, treacherous king Idreno was authoritively sung by tall commanding baritone Christopher Richardson who was most imposing.Mention must be made of the three veiled ghostly spirit attendants that Armida and Zelmira use, similar in style to that of Romantic ballet perhaps and also with echoes of the Rhinemaidens. Armida is the final work of the company’s departing artistic director and conductor Antony Walker. Erin Helyard who was on harpsichord for this performance will lead alone from now on. Rating: 4 stars out of 5 Armida Pinchgut Armida Rachelle Durkin Rinaldo Leif Aruhn-Solén Zelmira Janet Todd Ubaldo Jacob Lawrence Clotarco Brenton Spiteri Idreno Christopher Richardson Orchestra of the Antipodes Antony Walker, conductor Crystal Manich, director Alicia Clements, set designer Christie Milton, costume designer Matthew Marshall, lighting designer City Recital Hall 22-28 June 2016 First published on Tuesday 28 June, 2016 What the stars mean? Print Email ShareTweet  Email to a friend Your email Please enter a valid email Your name Please enter your name Friend's email Please enter a valid email Friend's name Please enter your friend's name Verification (type the code in the image) Invalid security codeGenerate New Image Close Related Articles Big West board refuses to answer community questions The public meeting, organised by the Save Big West group, was intended to allow the board to explain their reasons for axing the festival. How Play School makes careers As Play School celebrates its 50th birthday, we explore how the program has influenced career paths for Australian actors, authors and illustrators. Splat! Rambunctious physical performance with a strong emphasis on imagination and friendship. How regional centres are driving innovation Living outside a major metropolitan centre can liberate artists and organisations alike, allowing them to escape from the influence of group-think and fashion. Lynne Lancaster Another wonderful production by Pinchgut. Image: Armida Pinchgut Opera photograph courtesy Pinchgut Opera. Pinchgut have done it again with a musically and vocally ravishing production of the now rarely seen Baroque Opera Armida by Haydn (1784). It is based on Torquato Tasso’s sixteenth century story, ostensibly about the Crusades, but this opera is more about love, loss, deception, magic and war. Rinaldo, a crusading knight, has been seduced by the Syrian sorceress Armida. He is kept in her uncle Idrino’s castle in a semi-comatose state somewhat similar to that of Odysseus’ sailors in Circe’s palace. It was a hit in its day but languished in obscurity until the late 20th century. There are perhaps hints of Sarti and Gluck in the score. The Orchestra of the Antipodes on their period instruments were splendid under the beaming – with the enthusiastic yet crisply precise baton of Maestro Antony Walker. Finely nuanced the Orchestra had zestful attack and energetic momentum with great dramatic tension. Director Crystal Manich, with a deft light but sure touch, wants us to explore the character’s internal worlds and emotions instead of focusing on other outside issues like politics, religion, war and power. Alicia Clement’s set design was most effective with an upper level balcony for dramatic appearances and Armida’s myrtle tree lair. There is a staircase descending to a wintry, battle scarred stage with dead trees and tangles of upended chairs. Lighting by Matthew Marshall was at times lyrical and delicate and at others storm tossed. Costumes are 'timeless' yet of the era. The singers were all terrific with fine ensemble work and surtitles were provided with an excellent translation provided in the programme. The sorceress Armida was terrifically portrayed by stunning soprano Rachelle Durkin. At the start of the opera she is elegant and has glittering mask-like makeup. At the end she has black sap-like markings, representing her magic myrtle tree bleeding – and also her furious heart. She has several amazing arias throughout the show (in the second half: scene seven her aria beginning 'Barbaro! E ardisci ancor' soared). She has incredible range; dynamically controlled with focused clarity. We see her emotions broil from softened love and sweet charming seduction to furious anger, stormy like The Queen of the Night in Mozart’s The Magic Flute. Coloratura fireworks were contrasted with lyrically shaped segments to suit what was demanded by the moment. Her vengeance aria, 'Odio, furor, dispetto' is another showstopper and superbly sung. Durkin and Aruhn- Solen blended thrillingly in a coloratura duet. Our dithering hero Prince Rinaldo was splendidly sung and acted by Leif-Arun Solen. Bewitched by the sorceress Armida he is torn between love and duty. He has several show stopping scene /arias, just one example is in the second half when he is trying to steel himself yet again to break away from Armida and rejoin his army and friends. Ravishing; his expressive intensity made Rinaldo’s many changes of heart appear convincing. Zelmira, Armida’s attendant was magnificently sung by radiant soprano Janet Todd. Her major scene in Act 2 when she tries to distract Idreno was terrific. She lushly blends both lyric and coloratura soprano to effortlessly create lyrical yet demanding high-register passages creamily sung.The tall bearded ursine knight Ubaldo, one of Rinaldo’s friends, was splendidly sung by Jacob Lawrence. His other friend, darkly handsome Clotarco as portrayed by Brenton Spiteri with his bright tenor was also excellent. The villain of the piece: scheming, treacherous king Idreno was authoritively sung by tall commanding baritone Christopher Richardson who was most imposing.Mention must be made of the three veiled ghostly spirit attendants that Armida and Zelmira use, similar in style to that of Romantic ballet perhaps and also with echoes of the Rhinemaidens. Armida is the final work of the company’s departing artistic director and conductor Antony Walker. Erin Helyard who was on harpsichord for this performance will lead alone from now on. Rating: 4 stars out of 5 Armida Pinchgut Armida Rachelle Durkin Rinaldo Leif Aruhn-Solén Zelmira Janet Todd Ubaldo Jacob Lawrence Clotarco Brenton Spiteri Idreno Christopher Richardson Orchestra of the Antipodes Antony Walker, conductor Crystal Manich, director Alicia Clements, set designer Christie Milton, costume designer Matthew Marshall, lighting designer City Recital Hall 22-28 June 2016 First published on Tuesday 28 June, 2016

Melbourne visit for Nederlands Dans Theater!!

Yes I was lucky enough to get to Melbourne to see NDT .Wow . Here's my thoughts for Sydney Arts Guide http://www.sydneyartsguide.com.au/nederlands-dance-theatre-the-state-theatre-arts-centre-melbourne/ NEDERLANDS DANCE THEATRE @ THE STATE THEATRE ARTS CENTRE MELBOURNE June 24, 2016 Lynne Lancaster Leave a comment I was fortunate enough to see this extraordinary performance by the legendary Nederlands Dans Theater, who are in Australia for a very brief Melbourne only tour. This was a thrilling, dazzling triple bill of contemporary dance. The performance featured two works choreographed by the Company’s Artistic Director and Artistic Advisor respectively, the duo of Sol Leon and Paul Lightfoot with one work by Canadian Crystal Pite. The dancing was superb. At times the performers appeared boneless though they always exercised total control. Fabulous soft jumps were combined with crisp footwork , laser sharp legs and fine epaulement. Some of the lifts in the three works were striking, unusual and very demanding. NDT SEHNSUCHT pic by Rahi Rezvani The opening work was the amazing Sehnsucht as choreographed by Sol Leon and Paul Lightfoot, performed to the magnificent music of Beethoven. The title Sehnsucht comes from the German and connects to a certain yearning and describes a deep emotional state of missing something intensely. The piece opens with a striking solo by Prince Credell, full of powerful, barely contained movements. The work centres on the relationship between a man and a woman – Parvanaeh Scharafali and Mehdi Walerski – who are trapped in a room, comprising a box that tilts. It is as if they defy gravity. Their relationship is intense yet dreamlike and appears to be manipulated by Prince. In this work Prince has incredible long fluid arms and a hypnotic, commanding presence. Much is made of classical ballet line and balance and holding a position en attitude. There is a pas de deux that is perhaps a pas de trois at one point . Prince is in control, but always just outside the box of the room At one point Mehdi slips through the door – the ensemble arrive and then there are flying jumps featuring a trio of impressive male dancers. The piece featured synchronized, stylized arms and angular sculptural pas de deux. Is it all Prince’s Prospero like creation? A dream ? His imagination? This is a visually breathtaking, superbly danced piece. NDT’s SOLO ECHO pic by Rahi Rezvani The middle work, Solo Echo, choreographed by Canadian Crystal Pite was also mesmerizing . There is a wonderful snowing effect used throughout. The piece is inspired by the poems Lines For Winter by Mark Strand and is performed to Brahms’ melancholic , passionate music. The cast wear grey sleeveless unisex costumes. The choreography undulates, pulsates, slips and slithers in the ‘snow’ against a black wintery background. At one point the ensemble become a sculptural line of bodies fluidly moving in space. It appears that the group rejects one of its members – or do they?! Floating lifts are contrasted with bobbing weaving tai chi like snatches of choreography and rolling floor work. Wheeling, angular lifts and angular linked criss crossed arms are also employed. NDT’s STOP-MOTION pic by Rahi Rezvani The final work was Stop –Motion choreographed by Leon and Lightfoot. The work’s themes are longing, life in the service of love in its many forms, and the concept of how the past, the present and the future blur. Like a lot of contemporary works, the piece combined film projection and live dance. With this piece black and white film featured the choreographer’s daughter Saura in period costume. The marvelous music was by Max Richter. The work was haunting and elegiac. The choreography was again extremely demanding and athletic featuring small solos breaking out from fluid ensemble work., Backward runs were also included. The dancers become covered in a white chalk like dust as they slipped, slide and darted across the stage. Special mention must be made of the gripping performances by Prince Credell, Jorge Nazal and Parvanah Scharafali . One female dancer wore a black Victorian style gown that had a very long train – and the skirt was split at the front to allow movement. Captivating…Towards the end as Saura in the film holds a hand, there is a cascading waterfall like effect which was mesmerizing – the set’s panels were stripped back to the walls of the theatre, and the dancers kept moving until the final tableaux. A captivating mix of illusion and reality. Running time allow 2 hour 20 mins including two intervals. Nederlands Dans Theater are performing at the State theatre, Melbourne Arts Centre until 25 June.

Bangarra : Our :Land People Stories

Stunning here's what I said for Dance Informa http://dancemagazine.com.au/2016/06/bangarra-dance-theatre-our-land-people-stories/This most impressive triple bill, OUR land people stories, fuses visual arts, history, family and culture in three exciting works. The choreography for all three works is dazzling and trademark Bangarra, blending traditional Aboriginal/Torres Strait Islander and contemporary dance, and it was magnificently performed. Bangara Dance Theatre in ‘Macq’, as part of ‘Our Land People Stories’. Photo by Wendell Teodoro. First was Macq, choreographed by Jasmin Sheppard, which looks at Governor Macquarie from an Aboriginal perspective and also acknowledges and remembers the 200th anniversary of the Appin massacre. Macq was created in 2013 for DanceClan3, but for this version two new musical sections were developed and existing ones tweaked. The soundtrack includes voiceovers of letters written by Macquarie, and we see him agonizing with guilt and tormented by nightmares. The set is mostly very sparse and simple and includes the use of a long, large table. At one point, to represent Civilization As We Know It, a large teapot and a chandelier, among other things, are carried on stage. We see the juxtaposition of the two worlds — the white British in their red or blue military uniforms and the Aboriginal First Peoples. Macq opens with a circle of women in white, first with their backs to us before eventually drifting away, leaving a lone solitary woman to mourn her husband in a striking Macmillan-like pas de deux with his body. Another section sees eight men who become a haunting, overlapping sculpture as if hanging, dead; it is, in some ways, reminiscent of Goya or Blake illustrations. Macquarie was danced brilliantly by Daniel Riley, who has an intense, dramatic solo, similar in style to Béjart or Kylián, wherein he uses the table and gun-like movements, pondering what to do. There is a tense confrontation between Macquarie and the Aboriginals and an unsettling duet where the hood of a victim ends up on Macquarie’s face…or does it? The ending is dream-like with a vision of a woman in a feathered cloak. Leonard Mickelo with Bangarra in ‘Miyagan’, as part of ‘OUR land people stories’. Photo by Wendell Teodoro. Next was Miyagan, choreographed by Beau Dean Riley Smith and Daniel Riley, (who happen to be cousins), a piece about kinship, the bonds indigenous people share with the land and their cultural custodial responsibilities. It traces the family history of the Rileys and acknowledges and explores the culture of the Wiradjuri​ , their customs and language. As the choreographers say, “Our heartbeat is resilient and strong.” Some of the choreography is Graham-like; at other times, it is joyful and exuberant as the dancers tumble, rock, sway, bounce and cross the stage. Undulating arms are sometimes used; at other moments, arms are long and stretched. Small, slinky solos are terrific. There is also a hip hop influence and a youthful joy. Sometimes, there are soft, creamy jumps. All of the movement demands a dynamic, sizzling, stretched, long line from the dancers. The soundtrack combines futuristic sounds and traditional Aboriginal songs. Matt Cox’s lighting is splendidly atmospheric. There are strange hairy “spirit creatures” who interact with and shadow the humans. The set is a wonderful design of emu feathers that look like branches; the central feather is only included for the final section. Miyagan displays another mysterious ending as a woman in a long white, trailing dress appears. After interval came Nyapanyapa, choreographed by Stephen Page. It is based on the work by Nyapanyapa Yunupingu, a Yolngu artist who is of major importance in the Aboriginal art world. She is an elder from the Gumatj clan and, in 2008, won a Telstra Award for her work recalling an attack on herself by a buffalo. Nyapanyapa is inspired by her paintings and luminously explores the relationship between the artist and nature. The dancers become the land and various creatures from her imagination and memories. Charismatic dancer Elma Kris is captivating in the eponymous role, with great stage presence and a shining inner spirituality. Daniel Riley in ‘Nyapanyapa’, as part of ‘OUR land people stories’. Photo by Jhuny-Boy Borja. Waangenga Blanco was muscular and strong, with a dominating presence, as the Minotaur-like buffalo. Smith and Rikki Mason were grey and darting as the dogs; Sabatino and Yolanda Lowatta​ danced impressively as the sisters; and there was a supporting ensemble of emus, fish and trees. Large silhouettes of the “Lost Wendys” appeared like trees at one point, and the dancers used spiky arms and hands. The backdrop projections featured some of Yunupingu’s work, some in close-up and some incredibly beautifully, thickly textured. A most striking, vibrant programme, visually stunning and thrillingly danced, OUR land people stories is a glorious way to celebrate internationally renowned Bangarra’s 25th birthday and to mourn the recent passing of luminary David Page.

The Royal Ballet's Frankenstein

Most impressive http://www.sydneyartsguide.com.au/the-royal-ballets-production-of-frankenstein-covent-garden-london/ Strong, striking and dramatic with some powerful performances, the Royal Ballet’s FRANKENSTEIN, choreographed by Liam Scarlett, looms massively onto the screen. It is the latest in the Palace Opera and Ballet season. A co-production between the Royal Ballet and the San Francisco Ballet, the work is closely based on the supernatural Gothic thriller by Mary Shelley – a story of scientific development and love, the piece also raises very important questions about life and creation . Liam Scarlett’s choreography is challenging and athletic. There are some intricate interlocking ensemble sections ( eg the wedding waltzes) and the pas de deux include some very difficult lifts. Some of it is reminiscent of Macmillan’s and Ashton’s work. There are swoops and swirls for the pas de deux for Victor and Elizabeth, a chilling pas de deux for the Creature and Elizabeth, and a spectacular, though a little drawn out, confrontation at the end for the Creature and Victor. Lowell Leibermann’s specially commissioned score, as splendidly played by the Royal Opera House Orchestra under the baton of Koen Kessells, was thrilling. The music is at times swooping, sweeping and romantic, at other times spiky and tense, and far more contemporary. Waltzes are included and the production had a vaguely eighteenth -century feel to it. The set designs by John Macfarlane were magnificent including a chilling, eeriely curved anatomy lab , an imposing Frankenstein manor and a dramatic curved staircase for the wedding celebrations in Act 3. A lot of attention was devoted to the machinery and special effects for the (very rushed) creation of the Creature in Act 1 – very spectacular – and mists and fires are incorporated into other sections of the work. Lighting by David Finn is superb, eerie and suspenseful with great use of shadows in certain segments as well as some wonderful sunsets and so on. Victor Frankenstein was thrillingly portrayed by darkly handsome Federico Bonelli . We see his youthful exuberance and scientific curiousity regarding the spark of life and his faithful , burning love for Elizabeth. Yet Victor’s creation of the monster, when he theoretically denies all thought of religious or humanitarian principle, feels quite rushed. There’s no real sense of the chilling ghastliness or grisly grandeur of the event. When the Creature becomes alive we see Victor’s instinctive horror and revulsion and later his despair at losing his parents , younger brother and wife. Technically Bonelli was more than splendid. The final confrontation with the Creature is dynamic and we see how Victor is haunted by the ghosts of memories of his younger self, and his feelings of guilt. Elizabeth was delightfully danced by Laura Morera. Warm and elegant she danced superbly, with creamy epaulement and a refined, luxurious line. She is joyously enchanting in the swooping pas de deux with Victor and is terrifying and yet defiant in her encounter with the Creature towards the end. We know, and she knows, that the Creature will probably kill her. The Creature , torn, scarred and ugly, a terrifying cadaver, was brilliantly danced by Steven McRae. He yearns to love and do good but we see his change to evil malevolence and seeking revenge. He is the classic outsider longing for acceptance. His solos in the last two acts are fabulously danced and the confrontation with his creator at the end of mutual dependence and horror is emotionally shattering. -McRae is needy and pleading entwining himself around Bonelli , demanding that they recognize their linked fate. The ensemble of students , maids , wedding guests etc was excellent : the minor characters terrifically portrayed and developed :- the young William , Victor’s brother , charmingly danced by Guillem Cabrera Espinach, the poor unjustly accused Justine, played by Meaghan Grace Hinkis, and Henry Clerval , Victor’s best friend as wonderfully danced by Alexander Campbell. Whilst a little formulaic at times, this was a very impressive production, breathtakingly danced. Running time – allow 3 and ½ hours includes two intervals. The screening includes interviews and behind the scenes information before the show and during the intervals). http://www.palaceoperaandballet.com.au/production/frankenstein