Five short works with something for everyone were shown in this very mixed programme. Choreographically it ranged from the extremely traditional classical ballet form to the ultra-modern and contemporary, and everything in between.
We got off to a somewhat shaky start with the extremely old fashioned Tristan and Isolde, choreographed by Daniel Gaudiello (and oozing Marius Petipa’s influence) and featuring heavenly music by Bach, Hoffmeister and Mascagni, played by the Bodytorque Chamber Ensemble under the inspired baton of Sarah-Grace Williams.
Choreographically, there were lots of supported lifts and pirouettes with unusual backbends in this work, most of which was an extended, showy, courtly pas de deux for King Mark (Cameron Hunter) and Isolde (Miwako Kubota) as Tristan watched anxiously on. Isolde’s lady-in-waiting (Reiko Hombo) had a fast, spirited solo; King Mark’s bravura solo was excellently performed by Hunter; and Tristan’s yearning, disconsolate solo towards the end was very well performed by Jarryd Madden. As Isolde, Kubota was regally beautiful in her white tutu and she has a lovely ‘line’.
Touch Transfer, the second work, was choreographed by Vivienne Wong and could be said to be based on ‘action painting’ – though it was not so much Jackson Pollock-ish as striving to capture the fleeting beauty of movements made while dancing and ‘absent mindedly doodling’. The three colourful painted panels that formed the backdrop to this work could perhaps be read as dance notation or expressions of movement.
It opens with three pools of light that the dancers (Dimity Azoury, Jake Mangakahia and Calvin Hanaford) boldly emerge from. The choreography is mostly based on the circle and swirls of sculptural movement in a terrific pas de trois, sliding, falling, rolling with rippling arms movements (at times reminiscent of both Graham and Murphy’s work). Touch Transfer is a great showcase for Azoury in her lovely, short cream dress and the men are terrific too. Tiago Brissos gives a thrilling guitar accompaniment.
Next came the strong and powerful Contour, choreographed by guest artist Lisa Wilson, current Hephzibah Tintner Foundation Choreographic Fellow. Dana Stephensen has an amazing opening solo in her red dress. Much is made at first of a diagonal wire that slices the stage area – but eventually the wire is anchored to the floor to allow the whole stage space to be used.
Critical in this work is the video design by Chris Golsby – for some of it, are we meant to imagine the creation of the universe? There’s a city at night, stars, water, and other wonderful images. Paul Charlier’s music was a pulsating electronic score.
This work was a great showcase for the three dancers (Stephensen, Benjamin Stuart-Carberry and John-Paul Idaszak) who obviously loved performing it.
After interval came Scope by Alice Topp, who wowed us last year. The highlight of the evening, it was haunting and mesmerizing.
At the back, three panels acted as projection screens, showing the dancers floating/jumping/flying ethereally and then mysteriously fading. Inspired by a photographic exhibition, Topp says in this work she strives to portray “the muses’ capacity to suggest life’s fragility, and the constant nature of change – our mental and emotional attachment to objects, people, time, materials and our own physical being”.
The dancers (Chengwu Guo, Natasha Kusen and Karen Nanasca) were tremendous in this dreamlike work, with Crystal Dunn’s diaphanous outfits for the women and shorts and top for Guo.
The final work of the evening, Kevin Jackson’s Encomium, featured three dancers in skin-coloured leotards. It was an examination of a mother-son relationship when the son asserts his independence (Amy Harris as the mother has a fabulous, anguished solo) and the sense of pride they share when he returns to her a grown man and much more her equal.
It begins with snaky arms and repeated joyous childlike movements. Much is made throughout the work of Jackson demanding expressive articulation of the entire body, fluid, flexible and angular. All three dancers (Harris, Timothy Harford and Luke Marchant) are excellent. Duncan Salton on piano is glorious and the stark dramatic lighting and set by Kevin Jackson and John Berrett was extremely effective.
Bodytorque: Muses was an intriguing display of developing choreographic talent and a great showcase for some of the Company’s younger dancers.
The Australian Ballet presents
Bodytorque: Muses
Choreographers: Daniel Gaudiello, Kevin Jackson, Alice Topp, Lisa Wilson, and Vivienne Wong
Sydney Theatre
May 26 – 29
Running time: One hour 40 mins (approx) including interval
WHAT THE OTHER CRITICS SAID:
Sydney Morning Herald: “Bodytorque is an excellent opportunity to see some of the Australian Ballet’s younger dancers. The dancers in this year’s season were exquisite, powerful, technically proficient and, above all, highly expressive.”
