Reviews
GRADUATION SEASON 2009
Te Whaea Theatre
19 - 29 November 2009
Capital Times
Reviewed by Deirdre Tarrant
The end of year performances by the students of the New Zealand School of Dance are always a special occasion and an opportunity to see these young dancers before they emerge into the profession. This is a very strong performance and all the dancers take the stage with strength, passion and absolute confidence.
There are seven works culminating in the Paul Taylor work Airs (1978) restaged by Richard Chen See. I saw this work many years ago and it is as refreshing still with intricate rhythm and speeds but a wonderful effervescence and sense of space and movement. Jana Castillo and Robbie Curtis stood out in a strong cast, but they simply were so much fun to watch! In the classical works Kathryn Botica as Marie Taglioni in Pas de Quatre had both the technical efficiency but also a real interpretation of her role and Andre Santos in the Paquita Pas de Trois displayed outstanding technical clarity and ballon.
The stand out work for me was Sarah Foster’s Crossed Fingers pas de deux. Inventive, intriguing and totally mesmerising the choreography let Katherine Grange and Loughlan Prior indulge in quirky, unexpected and very demanding movement. Great to see a contemporary work made en pointe and danced with such assurance. It was exciting to see the line between the vocabularies being blurred and dancers able to dance both techniques with command.
Haere by Cathy Livermore started strongly and Jana Castillo, Gina Andrews and Lucy Marinkovich gave compelling performances but needed to define their differences for more dramatic effect.
Taiaroa Royal and Taane Mete made He Taonga –a gift and indeed it was a gift to the all male cast as an ensemble work with power and a compelling pulse and flow.
Shona McCullagh revisited her duet Love from Quick (1998) for Emmi Coupe and Florian Teatiu and this had some extraordinary moments of breathtaking beauty.
All credit to the staff of the school and Director Garry Trinder for an adventurous programme and above all, a real commitment to New Zealand choreography. It was excellent to see graduates returning to choreograph and the life blood of our dance living on in such a wonderful way.
Dominion Post
Reviewed by Jennifer Shennan
Eight contrasting works performed by svelte and enthusiastic young dancers. Fit, strong, beautiful, musical, committed, spirited youngsters remind their audience of many good things in life.
Pas de Quatre, staged by Lidiya Klymenko, was most lyrically and musically danced, even if the interaction of dancers’ personalities was only lightly sketched. Haere, a new work by Cathy Livermore had a ceaseless flow of connecting movements themed for the stages of a woman’s life. A duo, Love, performed with feeling by Nicola Leahey and Robbie Curtis, an excerpt from Shona McCullagh’s choreography, Quick, made in 1998, brought back memories of that impressive narrative work.
The pas de trios from Paquita staged by Yuriy Klymenko, had élan and excitement, from Haruka Tsuji, Anna Ishii and Andre Santos. There was drama and atmosphere in X300, originally from Bangarra Aboriginal Dance Theatre, based on secret atomic tests in the 1950s Australian outback. Crossed Fingers, an astonishing duo by Sarah Foster, to Pergolesi’s Stabat Mater. was given an electric performance by Katherine Grange and Loughlan Prior.
Airs, by Paul Taylor, to music by Handel, staged by Richard Chen See, is indeed a classic from the prolific New York choreographer whose company still remembers the stellar career there of Douglas Wright.Airs’ many musical and technical challenges were met with courage and verve by these young dancers who seemed airborne and joyous throughout.
In He Taonga, choreographed by Taiaroa Royal and Taane Mete, ten male performers moved from an ancient forest into movement of different life forms.
To evocative sounds from Whirimako Black, Royal sourced the gravity and force of haka, though not its unison or aggression. In Mete’s section, to striking music by Vrebalov, individuals made natural, shall we say free, movements yet also stayed within tight forms of traditional dance groups.
By some alchemy, small motifs sourced from Maori and contemporary explorations combined into a powerful dance of great wairua / spirit.
Royal and Mete are to be saluted, along with Garry Trinder for commissioning it, and the dancers for its burning bright performance. He Taonga could and should travel elsewhere.
IN A SPACE
The New Zealand School of Dance Choreographic Season 2009
5 - 13 June 2009
Te Whaea Theatre
“This year’s season of student choreography is themed around matters astronomical, and the programme of 13 items, beautifully lit, results in some strikingly effective imagery of stars and space and escapes from gravity. Viewers of all ages will love it.”
(Dominion Post)
“Artistic Coordinator, Sarah Foster, has excelled in melding a range of choreographic explorations into a cogent whole… Clear, clean lines and accomplished dancing shone throughout…
(Capital Times)
“The dancers themselves were sensational. They are New Zealand’s crème de la crème and it’s obvious.”
(Thread.co.nz)
GRADUATION SEASON 2008
Te Whaea Theatre
19 - 29 November 2008
Reviewed by Emma Manning for Dance Europe
New Zealand did not start off well. An errant tangerine, lurking in the depths of my chaotic bag, had me arrested on arrival. The country bans the import of fruit and the penalties for careless visitors are harsh. A brutal execution was clearly on the cards but I got away with a $200 fine. Fortunately things looked up when I arrived at the New Zealand School of Dance in Wellington when I was greeted with a powhiri – a traditional Maori welcome. This ritual is observed by many state-funded bodies in New Zealand. The rationale behind the ceremony is that any manuhiri – or stranger – is treated with caution; is he a friend or foe? The men protect the women (whose safety is foremost as they are the ones responsible for carrying the babies that will perpetuate the race’s being) with a warrior-like dance challenging the visitor’s presence. When their peaceful intent is confirmed the ceremony concludes with a hongi – a custom in which newcomers nudge noses with each of the hosts. The curiosity of the ritual aside, the conviction and energy with which the school’s students performed this ceremony was thrilling in its intensity. Clearly the NZSD is no place for nervous introverts.
Such was confirmed in the evening’s performance – one of eleven shows that made up this year’s graduation performance season that takes place in the school’s own theatre at the National Dance & Drama Centre. The programme opened with the pas de dix from Raymonda, staged by Janek Schergen, with Gary Harris’ costumes on loan from the Royal New Zealand Ballet. NZSD students choose to specialise in either classical or contemporary dance and, as Raymonda, 2nd Year classical students Katherine Grange was delightful. Blonde, slightly built – clearly a dream to lift – and with good feet, she captured the role’s sensuality and phrased her performance beautifully. Partnering this promising dancer with confidence and sensitivity, third year Kyle Wood also impressed in his slickly danced solo.
Dancing the variations, Natalya Thorpe was neat and buoyant, Haruka Tsuji showed an intelligent use of the music, while Hayley Meek and Lily Thompson coped well with the complex footwork. In the male quartet, Kase Craig, Rodney Cuthbertson, Kristian Pisano and Loughlan Prior were splendidly in sync and kept smiling through the technical hurdles.
But perhaps the most heartening thing about Raymonda was the rapport between the students, who clearly respected and interacted with each other – an observation that stood out throughout the show.
Despite its somewhat far-flung location, the school attracts many internationally-renowned professionals and , in addition to Schergen (who takes over the direction of Singapore Dance Theatre this January), this year’s students also had the opportunity to work with NDT’s Arlette van Boven, who staged Jiri Kylian’s Un Ballo, and Frank Andersen, who taught the Flower Festival in Genzano pas de deux to Japanese Haruka Tsuji and Brazilian Andre Santos (in New Zealand on a scholarship he won at the Youth America Grand Prix in 2007). A cuter pairing would be hard to find and the enjoyment both dancers get from performing this charming piece of Bournonville is infectious. While both still have yet to perfect every step, Tsuji is already a competent technician and Santos has an exuberant jump.
Un Ballo showed off the students’ affinity with Kylian’s style as they fearlessly abandoned themselves to the fluid skids along the floor and wrapped themselves the seamless movement vocabulary. The uniqueness of Kylian, who embraces various dance genres in one big lush melting pot, was also illustrated by the fact that students from both the classical and contemporary streams were cast together. Of the ten committed dancers, contemporary second year Florian Teatiu (who comes from Tahiti) was especially captivating to watch.
Kenneth MacMillan was represented by the pas de deux from his Concerto set to Shostakovich’s Andante Piano Concerto no. 2 in F minor. Staged by the school’s artistic director Garry Trinder and coached by Carl Myers and Stuart Cassidy, the excerpt was performed with careful precision by Katherine Grange and Michael Lee, but while all the aesthetics were firmly in place, I missed the sensuality that Grange had shown in Raymonda. The score just begs for the upper body to give much more.
On the contemporary front, the school prides itself on inviting former graduates to create works for the school and Ross McCormack’s Symbiotic was commissioned for this year’s graduation season. Set to a wacky mix of Achim Nica, Krassimic Kiunkdigiski and Aphex Twin, the piece was delivered at full throttle by Jessica Jefferies, Nicola Leahey, Robbie Curtis and Florian Teatiu. If the programme claim that the work explores “hybridisation, evolution and morphing” was a tad pretentious, no one could mock the way in which the students, with hair periodically yanked or used to polish the floor, thrashed through the physical extremes demanded of them.
Another premiere, Sarah Foster’s We Can Fight, had me lost though. Set to Ennio Morricone spliced with chunks of raucous text, I was told that the work parodies the typical South Island farmer. But while the lingo and jokes left me bemused, the blokish comedy went down well with the initiated, and the piece further cemented the versatility of the students.
The best of the contemporary works was Natalie Weir’s Jabula. Celebrating nothing more than the spirit and velocity of dance, the ballet was created on the Queensland Ballet in 1994 and has been seen in London, performed by the Royal Ballet School. It suits the students admirably and closed the performance on a high that left the whole theatre dancing.
Reviewed by Deirdre Tarrant for the Capital Times
This annual offering of classical and contemporary works gives us a look at the strengths of upcoming talent as well as an eclectic mix of local and international repertoire.
The standout for me was Jiri Kylian’s Un Ballo, beautifully staged by Arlette van Boven to music by Maurice Ravel.
This work was originally made for students in Nederlands Dans Theater 2 in 1991. Glamorously dressed in black, each couple moved sinuously and seamlessly with wonderful control and eye-catching dynamics.
Unexplained angles, subtle sophistication, alternating suspension and impetuous, danced with beautifully measured connections gave three key duets a chance to hint at covert relationships and youthful exploration.
Nicole Ward, Florian Teatiu, Lucy Marinkovich and Kyle Wood in particular stood out in the strong cast.
The Flower Festival in Genzano (1858) provides one of the touchstone pas de deux from the very distinctive style of August Bournonville. We do not see much of his work here and it was lovely to see this staging by Frank Andersen.
Light-hearted, flirtatious and skimming the surface of the stage, Haruka Tsuji and Andre Santos had the measure of this work perfectly.
The Concerto pas de deux (Shostakovich) was played by Phillip O’Malley and Craig Newsome. Lovely to have this live music but the work itself is notoriously difficult with supported ‘pictures and poses’. It requires glorious and never-ending length and clarity in the lines created. That said, all credit to Director Garry Trinder and his staff for giving these students the chance to learn and dance this range of repertoire.
Challenge of a different nature was provided by two new works commissioned by New Zealand choreographers Sarah Foster and Ross McCormack.
McCormack’s Symbiotic was intriguing – dark and repetitive with twitches and jerking movement driving four dancers together and apart.
We Can Fight, by Foster, brought us to the here and now. Brilliantly using the vitality and energy of these young graduating dancers, on the edge of their own personal discoveries about the real world, Foster took us to her father’s farm in Otago for a fast and furiously funny romp.
Dan Caddy’s farmer was wonderful, the sheep dogs were fabulous and the dancers were clearly having a ball!
Choreographically inventive and fresh and with tight ensemble work, Foster picked up on the effervescence of her cast and gave them permission to show us that.
As these dancers move onward into the uncertainties of the dance profession, they will need this feistiness as well as the grace and sinew of Un Ballo, the fun of Flower Festival, the technical challenges of Raymonda and Concerto, the predictability of Jabula and the edginess of the unknown of Symbiotic.
A great end to the year and one of the best Graduation performances I have seen. Bravo.
Reviewed by Jennifer Shennan for the
Dominion Post
Raymonda pas de dix, after Petipa, evokes the pomp and grandeur of its old-school Russian heritage. Its demanding technique is valiantly performed by all ten dancers, amongst whom Haruka Tsuji and Loughlan Prior seem truly elegant and at ease. The Glazunov score, usually a grand and supportive romp, has a somewhat muddy recording which tests the dancers’ musicality.
Symbiotic, newly choreographed by Ross McCormack, is unusual and enigmatic.
Jiri Kylian’s choreography, Un Ballo, to Ravel, staged by Arlette van Boven, is timeless in style, and in the freshness of performance it invokes from the dancers. Two words – “Quite Fabulous”, though, believe me, I could write 2000 words. Each of the Kylian masterpieces being brought annually into the School’s repertoire will, like the heritage of Limon works in a previous era, improve the lives of those who dance them, and those who see them.
Bournonville’s The Flower Festival in Genzano, staged by Frank Andersen, until recently artistic director of Royal Danish Ballet, brings joy and vitality to centre-stage. Haruka Tsuji and Andre Santos do a sterling job, conveying a delightful sense of fun, which is no small achievement in this demanding style of dancing that makes such interesting contrast with the opening Russian work. Two words – “Completely Delicious”, though, believe me, I could write a book.
We Can Fight, a new work by Sarah Foster, has loads of comic punch and edge, and Dan Caddy does a spirited delivery of the lead role.
The pas de deux from Concerto, by Kenneth MacMillan, is staged by Gary Trinder to Shostakovich’s Piano Concerto no.2, played live (much appreciated). It is very competently and beautifully danced by Katherine Grange and Michael Lee, who both show a purity of line, and share secure rapport.
In Natalie Weir’s spirited work, Jabula, the dancers give and receive much uplift. It proves a celebratory closing to a strong performance. One wishes good long dancing lives to them all.
Reviewed by Cyndi Greep for Thread
New Zealand School of Dance Graduation season opened last week in Wellington with the creme de la creme of New Zealand's graduating students performing polished dance presentations with finesse.
The evening was made up of classical ballet and contemporary dance performances, with a mix of the two genres holding the audience in spellbound silence. It's hard to describe the contemporary dances as they ranged from an African insect chanting ensemble to a good Kiwi Southern man cracker. One of our favourites has to be mentioned as being Natalie Weir's Jabula which was dynamic, energetic and danced with passion.
Opening night saw two world premieres unveiled to the audience, with the work of internationally-recognised contemporary dance choreographers Sarah Foster and Ross McCormack performed by the graduates. These performances had the audience applauding before they finished with the woman seated next to us whacking her heels on the floor in wonder.
NZSD trains dancers to become nationally and internationally recognised - and they certainly are. All areas of dance are studied from performance through to choreography and graduating students excel. These students are multi-talented and will go far once launched from New Zealand. If you get the chance, go to a graduation season performance, and prepared to be amazed.
New Zealand School of Dance
Choreographic Season 2008
Steel Skeletons
Te Whaea Theatre
30 May - 7 June 2008
Reviewed by Deirdre Tarrant for Capital Times
Great to see more contemporary dance aligning itself with New Zealand Music Month. There was a wide and varied range of music used by seven contemporary dance students to make their own ‘blueprint’ dance.
The annual Choreographic Season from students at the New Zealand School of Dance is a good opportunity for them to explore and present their ideas professionally.
This year’s collaboration with the Entertainment Technology and Costume Construction students has resulted in a tight and excellently constructed series of works. The Artistic Coordination by Paula Steeds-Huston had a strong overview and there was also input from mentors Malia Johnston and Brenton Surgenor.
Encased physically by the steel scaffolding of the title there is some use made of the set but for the most part each choreographer works primarily with relationships and energy generated by space and movement.
Champa Maciel’s Mosaic explored the concept of music being made up of four elements. Of these her Melody was the most successful and the four dancers seemed completely in tune as they played with intricate and unexpected movement phrases.
The humour and sure-footedness of Dan Caddy’s If (with quite the most provocative chicken) was fun and showed a real ability to draw characterisation in the flick of a head or a folded leg. This was an amazingly complex music editing effort also with Ken Young’s wonderful orchestral score Dance doing its best to actually take over and be heard in full.
Cara Szabo entitled her work Origami and captured the flow and fold of paper with a well-matched cast who brought the requisite beauty and delicacy to her work.
I liked the juxtaposition of Space Wish by Zahra Killeen-Chance and the way she used direction and a movement motif to highlight the idea of severance… a final lone and separated image that lingers as I write.
The other three works Our Lady (Alysha Firbank), Divisions (Annekle Gough) and Transitions (Jana Castillo) set themselves ambitious concepts with varying success and clarity. The dancers did indeed “explode onto the stage” as promised in the media release and showed strong technical mastery and a hungry ability to use the space.
New Zealand School of Dance
40th Anniversary Graduation Season
The Opera House, Wellington
9 & 10 November 2007
Reviewed by Jennifer Shennan for the Dominion Post
NZ School of Dance celebrated its 40th Anniversary in a gala performance at the Opera House. The contrast between many short works on a full programme emphasised stylistic variety, but there was an impressively high performance standard.
The choreographic masterwork of the programme was Evening Songs, by Dutch dance-maker Jiri Kylian, to music by Dvorak. This cast was drawn from both classical and contemporary streams of the school. The calm clarity of movement, with elements of sequencing, layering, phrasing and grouping all impeccably proportioned and judged, makes this a dance, poem and prayer in one. An audience feels cleansed by such an experience.
A Birthday Offering, a grand procession of classical students, including youngsters from the junior associates programme, made a pleasing opener. Two star graduates – Craig Davidson now with Royal Ballet of Flanders, and Jane Casson with Australian Ballet – performed sparkling solos. The full pas-de-deux and codas from Le Corsaire would have made an outstanding performance.
Davidson partnered second-year student Sharni Spencer in a moving balcony scene from MacMillan’s Romeo and Juliet, showing that Spencer clearly has prospects for a fine career in dance. Danish ballet style was caught in an excerpt from La Sylphide, with another talented young dancer, Ginny Gan, in the lead role, and Rory Fairweather-Neylan displaying impressive technical ability.
Futher contrast was evident in the extrovert style and extreme technique of Balanchine’s Agon.
Items were contributed from Footnote Dance and Black Grace dancers. Currently Under Investigation, choreographed by Garry Stewart of Australian Dance Theatre, made a strong impression with striking all-white costume design adding atmosphere to its political theme.
Michael Parmenter’s large group work, to a Bach cantata, was intricately patterned and made a fitting finale to a varied programme that showed dancers full of commitment to their chosen career. Let’s hope at least some of them make it into the RNZ Ballet so we have the pleasure of following their careers here.
Reviewed by Ann Hunt for Sunday Star Times
The atmosphere was electric, the wine flowed and designer glad rags proliferated in this eclectic programme celebrating the 40th anniversary of the New Zealand School of Dance.
The School is a great achievement for New Zealand and one which its directors and teachers, past and present, should be justifiably proud.
The evening began appropriately with a glimpse of the future. Levels One and Two of the Regional Associate Programme, aged 10-11 years, performed A Birthday Offering, (choreography by Sarah Roe and Melanie Clark) followed by the full-time classical students in the final movement from Theme and Variations (choreography, George Balanchine). Sharni Spencer and Kyle Wood were the featured soloists and very good they were.
One of the hits of the evening was from Guest Artist from the Royal Ballet of Flanders, Craig Davidson, who performed with great bravura and skill, Ali’s variation from Le Corsaire, (choreography after Marius Petipa).
Another highlight was the lovely excerpt from La Sylphide, (choreography, Bournonville) beautifully staged and coached by Garry Trinder and Matz Skoog respectively.
Ginny Gan (the Sylphide) and Rory Fairweather-Neylan (James) were delightful and made us long for more.
Guest artists from Black Grace blew the audience away with their passion and skill in the excerpt from Neil Ieremia’s exuberant Human Language. This terrific piece wonderfully encapsulates all the complicated interaction between men and women.
Guest Artist from the Australian Ballet, Jane Casson danced a stylish, but tantalisingly brief, 4th variation from Paquita, (choreography, Radojevic after Petipa).
Evening Songs (choreography, Jiri Kylian), first choreographed for the Nederlands Dans Theatre displayed its outstanding pedigree. This beautiful work suited the dancers perfectly and they danced it with fluid, heartfelt grace.
One Trick Pony (choreography, Sarah Foster), could not have been more different and wonderful for it. This eccentric, technically challenging and very amusing work was an evening highlight. It was outstandingly performed by all seven dancers.
The Balcony Pas de Deux from Romeo and Juliet (choreography, Kenneth MacMillan), was most movingly danced and with great delicacy by Craig Davidson and Sharni Spencer and the whole was blessed by the sensitive lighting of Paul O’Brien.
And finally, The Bach by Michael Parmenter. Again splendidly lit by O’Brien, this moving work was a superb finale to a delightful evening.
Reviewed by Martin Boswell for The Wellingtonian
The New Zealand School of Dance opened its Graduation Season last week at the Opera House. This was a special event as 2007 marks the 40th Anniversary of the founding of the School. Opera House performances were formerly de rigeur for graduation, but in recent years the school has used its own space at Te Whaea. Each venue has its advantages, but for this season, the graduands acquitted themselves very well behind the traditional proscenium arch of the Opera House. The generously-packed programme consisted of 13 separate pieces, including pleasing offerings by Footnote Dance Company and Black Grace, as well as fabulous solos by two illustrious graduates.
The first work, 'Theme and Variations', introduced the large coterie of ballet students. Technical standards were high in this Balanchine work. Next, an excerpt from 'Broken By Design' (chor. Malia Johnston) by Footnote was equally successful; this company is dancing together particularly well at the moment, though the reason for their inclusion in the programme is not immediately obvious (ditto Black Grace). Craig Davidson carried off with spectacular ease the difficult pirate’s solo from 'Le Corsaire'; even the breathless tempo did not trouble him in the least.
Contemporary dance students had their chance to shine en masse in 'Never Mind the Bindies'. This was very well-danced, especially considering virtually the entire piece is in unison. An appropriate excerpt from 'La Sylphide' formed a centrepiece to the evening, set to Lovenkjold’s glorious music. There was committed dancing from leads Rory Fairweather-Neylan and Ginny Gan.
Guests Black Grace threw themselves with gusto into 'Human Language', full of windmill lifts and other fun movements – the audience roared its approval. Graduate Jane Casson, now at the Australian Ballet, was ravishing in her solo from 'Paquita' – we would love to have seen more of her. 'Currently Under Investigation' (chor. Gary Stewart) was an inventive mix of classical, street dance and other techniques, and showcased its performers well.
Certainly the highlight of the evening was 'Evening Songs', by 20th century choreographic master Jiri Kylian, set to gorgeous choral music by Dofiak. This elegant and mysterious work was most sensitively interpreted by Nicole Chadderton, Fiona Hulands, Nicole Ward, Kase Craig, Alexander Koszarycz and Michael Lee. Congratulations.
Next was a delightful comic turn –'One Trick Pony', a world premiere and didn’t the seven performers relish the opportunity. The Balcony pas de deux from 'Romeo and Juliet' featured the lissom, exquisite Sharni Spencer, who is possessed of a beautiful line and is a delight to watch. Her musicality, expressiveness and technique will take her far. I’m guessing she also has acting ability but with such dim lighting it was hard to tell.
'The Bach' by Michael Parmenter was fine choice as a finale to a great evening. This work is securely and quintessentially New Zealand in its choreographic elements: uplifting Baroque music (Bach Easter cantatas in this case); a joyous camaraderie among the dozen-plus dancers; plenty of vertical leaps, which yield dramatically to the earth; and purposeful walking in patterns. The enjoyment of the dancers was palpable, and what could be better?
Reviewed by Lyne Pringle for Theatreview
This was an impressive show.
The very long evening kicks off with an address by the chair of the Board followed by Michael Cullen who lets us know that this school has been part of the development of New Zealand culture since 1967, when its focus was entirely on training ballet dancers. (In 1982 the school replaced the title The National Ballet School with its current title, embraced a contemporary dance curriculum and began to set its sights on grooming dancers for the international stage.) Cullen makes the often stated observation that for a small country we produce a lot of great dancers and this is validated when one looks at the alumni of this school.
A tiny girl flanked by slightly larger girls and one boy are representatives of the Regional Associates for the school and they are given the honour of beginning the performance with great dignity and concentration before the entire classical school of up to 30 students takes the stage with breathtaking effect.
Balanchine is always a treat and this version of the Final Movement from 'Theme and Variations' is no exception with Sharni Spencer and Kyle Wood giving a really stylish performance of the central duet in this Final Movement. The corp de ballet work is meticulous and it is pleasing to view Balanchine's mastery of group structures.
Hair flung free tumbling rough bodies snap us into another reality as Footnote Dance Company - the first of the guest artists (all graduates of the New Zealand School of Dance) - takes the stage in 'Broken By Design' by Malia Johnson. Moving in lines across the stage in and out of the floor with great rapidity all torrid energy and intention - turn and turn again fall into lunge, knee spin, drop through forced arch then pause counter balance for the briefest of time before the dervishes are off again. Side lights catch figures and there is a dancer and movement that reminds of Stephen Petronio just for a glimpse and then it is gone. This is New Zealand choreography and New Zealand music - Yes!
The rhythm is relentless. A sequence of inventive partnering escalates to a climax before figures are left panting, broken on the floor. As the piece ends someone says 'Yeah' behind me; they are satisfied but for me this work is still finding its way, as if the central rationale has yet to arrive. Great movement phrases, though, and the company is stunning, dancing with passion and utter commitment.
Jetes that suspend - the way the next guest artist Craig Davidson manages to - burn an indelible image onto the retina along with his beautifully controlled pirouettes. This was a fantastic rendition of this famous variation from 'La Corsaire'; almost unbelievable that the human form can do such things.
'La Sylphide' - the first romantic ballet - has been restaged by Garry Trinder with coaching from Matz Skoog. This version of Bournonville's choreography for the Pas de Deux and Grand Divertissement from Act II gives the classical students another opportunity to shine. It is charmingly sweet with classic ballet mime and very polished corps work once again. Rory Fairweather-Neylan swirls his kilt fantastically as James the single male amongst the sylphs chasing the love of The Sylphide, danced by Ginny Gan.
Juxtaposed against the classical items the contemporary pieces show a great freedom. The extract of 'Human Language' from the next guests artists, Neil Ireremia's Black Grace, features school graduates and gives us exuberant dancing as the feisty women in gorgeous frocks are hurled around by the men: then move into running patterns reminiscent of Paul Taylor and even for a moment 'West Side Story'. The interweaving ending is clever and a real crowd pleaser.
Jane Casson has gone on from the school to become a star in Australia and it was wonderful to see her back on the Opera House stage dancing a stylish version of the 4th Variation from 'Paquita'.
Agon (first Pas de Trois)by George Balanchine has always been one of my favourite contemporary ballets. Once again Ginny Gan, Sharni Spencer and Rory Fairweather-Neylan are featured and they do a good job of navigating the complexities of this demanding and intriguing choreography. Balanchine along with Stravinsky was really pushing the envelope of possibility for the balletic form 50 years ago: the humour, syncopation and counterpoint along with the unique lines still resonate today. Peter Boyes has done a great job as the rehearsal director.
Another Australian choreographer Garry Stewart's 'Currently Under Investigation' bursts onto the stage with break-dancing moves and an in your face brashness. This work has been well rehearsed by Paula Steeds-Huston. All in white the contemporary students really rip into the challenges of the work with great dancing. Balletic lines are transformed into contemporary movements and we are given the chance to relish the extension of some of these dancers. Men manipulate a passive woman yet again, there are strong trios and duets and a tussle between physical athleticism and 'dancing'. Words flash on the cyclorama like 'this is not a drill', 'subterfuge' ... which adds another dimension to the work, making us question what we are observing and the role of the dancer.
After the second interval the real gem of the evening is presented: 'Evening Songs' by Jiri Kylian to Dvorak. This work is 20 years old yet it has a timeless classic feel about it. Nicole Chadderton, Fiona Hulands, Nicole Ward, Kase Craig, Alexander Koszarycz and Michael Lee from the classical and contemporary streams dance it with great dignity and care. There is a tenderness between the men and the women in this work that is too often missing in other dance partnering. Instead of the women being man-handled or passively manipulated they are treated with respect. This work is a beautiful interpretation of the music with a community of people moving through a ritual together using folk inspired movements, delicate repeating gestures and understatement. There is an intention in the work that the choreographer has clearly fulfilled - something that is missing in other contemporary works in the programme. There is stillness, space and elegance.
One Trick Pony is a quirky tight and clever rendition of a piece of music by Csokolom from choreographer Sarah Foster for seven first year contemporary students, who perform it well and with gusto using mostly facial expressions and uniform twitches - amusing.
Kenneth McMillan incorporates some incredible soaring lifts in his choreography for Romeo and Juliet. Garry Trinder has lovingly staged the Balcony Pas de Deux from Act 1 and the dancers Sharni Spencer and Craig Davidson perform it with great technique and feeling. Whoever wrote the programme notes considers this ballet one of the greatest examples of 20th century choreography and this excerpt, which finishes with a kiss, is indeed unique.
In the concluding work for the evening Michael Parmenter gives us a loyal and meticulous rendering of the music in The Bach. With simple Pava- like walking structures interspersed with sweeping movement phrases that swirl in the space - portraying the ecstasy of a belief in resurrection, new life, new beginnings - this is uplifting dancing and choreography. The costumes help to transport us to the opulence of the Elizabethan court.
Garry Trinder's assured, rigorous and determined direction, I presume with the support of the board, has completely reshaped the school.
New Zealand School of Dance
Choreographic Season: Infinite Thread
Te Whaea Theatre, Wellington, New Zealand
May - June 2007
Reviewed by John Smythe for Theatreview
What a celebration: of dance, movement, talent, fabrics, lighting and music! Inspired by fabrics - their look, feel, texture, construction, qualities, virtues, place in the world - Infinite Thread offers a magical mystery tour through an eclectic range of choreographic styles comprising 13 works set to an equally diverse selection of contemporary New Zealand music.
Also a joy is the seamless presentation. Gone is the sense of recital; a concert. This is a show, not a showing of; a showing off. And of course the creative talent is appreciated more when it focuses on a purpose beyond itself.
Likewise the dancers who stand out are those who have imbued their work with meaning, a reason to be, that inspires them to think, feel and reach beyond remembering the next step or sequence. They are there to experience, express, convey, share, exalt in a state of being. Dance is the means to a greater end.
Most of the works are very accessible, capturing the human condition in many guises. Where inter