This was totally brilliant .http://www.sydneyartsguide.com.au/sydney-dance-company-presents-untamed-roslyn-packer-theatre/his magnificent double bill will leave you breathless and stunned
with awe at the superb performances. The brilliant Sydney Dance dancers
excel themselves and are in top form.
Opening the program was Gabrielle Nankivell’s Wildebeest, first seen in 2014 as part of New Breed.
Nankivell is based in South Australia. Darkly hypnotic and haunting, Wildebeest
seeks to explore the hidden ‘beast’ of the dancers. The dancers reveal
various aspects of the beast – at times they are like Ents in the forest
, or a startled feral creature. Sometimes they all run herd-like.
A lone beast is fragmented and altered each time it makes contact
with a nearby group. Nankivell’s choreography is very demanding and
athletic. It is also very detailed with assorted avian and creature-like
details. They fly, they strut, they explore their surroundings and
nervously sniff the air …Some of the slick ensemble choreography is
machine like, or like clogs interlocking, as the dancers trace the
evolution from animal to human to machine/robot and even beyond.
Bernhard Knauer has a compelling opening solo
looming out of the darkness – is he a just born creature finding his
feet? – at times he is like a controlled puppet, other times he is
explosively exploring space.
Cass Mortimer Eipper intently prowled and sinuously coiled and stretched like a large cat and Charmene Yap also had a tantalizing solo. There is a terrific duo from Holly Doyle and Todd Sutherland . And Janessa Dufty has an intense , gripping Shaman like closing solo.
Luke Smiles’ electronic soundscape is extremely powerful, pulsating and humming. The unisex costumes by Fiona Holley of shorts and tops were in various autumn shades and dark colours.
The second work was Bonachela’s Anima. Dazzling
abstract dance, Bonachela’s work attempts to explore the boundary
between form and spirit, expressed through the way the dancers utilize
their extraordinary elevation and almost fly. Bonachela’s choreography
is at times extremely demanding and athletic.
London based, Bulgarian born Dobrinka Tabakova’s elegant ,passionate and haunting score ( Insight for Strings
trio , written 2002) was in parts driving and relentless, in other
sections heartbreakingly elegiac and lyrical (hints of Tavener’s Protecting Veil). Aleisa Jelbart’s
costumes looked like light sleepwear, and a couple of the men were
topless. There was no set as such, rather breathtaking lighting and
visuals by Clemens Habicht and Benjamin Cisterne
whose lighting design glows and luminously transforms the dancers,
drenching them in colour – including blinding whites, searing reds and
zippy turquoises.
Slinky sculptural pas de-deux blend to astonishing trios with unusual
lifts. Bonachela’s choreography demands soft feline jumps combined with
long, stretched line as the dancers dart and leap. A highlight would
have to be the extended tender and intimate pas de deux for Cass Mortimer Eipper and Petros Treklis
with its aspects of male competition and tension, attempts to reach out
and withdraw, elegantly detailed hands and an idiosyncratic use of
elbows expressing physical longing and desire. Juliette Barton and Sam Young Wright followed this with another mesmerizing duo and the ensemble returned for a leaping finale.
The Sydney Dance Company’s production of UNTAMED is playing at the
Roslyn Packer theatre until October 29. Running time 1 hr 45 minutes
including one interval.
https://www.sydneydancecompany.com/
No comments:
Post a Comment