Kryztoff RAW» Dance

2 One Another – Her Majesty’s Til 11 May – 4.5K

Peter — Thu, 09 May 2013 01:30:17 +0000

2 One Another is about the experience of connecting and disconnecting and for Adelaide audiences this is our first time at making such a connection with the Sydney Dance Company since 2009. If for no other reason than for seeing how top notch contemporary dance production is done, one can only hope it happens rather more regularly than every four years.

Rafael Bonachela’s artistic direction takes us through isolation as a curse and a strength, the joys and lows of interacting with another and the buzz and desolation that can come from crowd involvements. But throughout the beauty of the human form is the supreme connection he makes with the audience.

In four sections, the dancers perform the first three in a grey/blue costumes before the last, Planescapes, takes us into a new dawn of post box reds, led rhythmically and compellingly by Andrew Crawford and Juliette Barton.

Many contemporary dance companies seek to create an edge through a high emphasis around the music or lighting, often overreaching and shadowing the focus of dance. Bonachela’s work is as near perfect in its combination of all stage elements as can be seen. Nick Wales’ music score spans classical, baroque and techno but never over- imposes itself. The stage lighting of Ben Cisterne is subtle, almost understated but highly effective and Tony Assness’ digital backdrop screen nicely complements the movements ahead of it, especially in those times when it morphs from a creased and crumpled sheet to an expanding vision of colour.

While the last section brought warmth and comfort to the senses, the highlight for this reviewer were the last movements of the third section, the Dark Half, that through the combination of climaxing music and dance that pushed the limits, the joy of company and this Company was heartily communicated.

Kryztoff Rating 4.5K

SYDNEY Dance Company – 2 One Another – Preview

Peter — Mon, 29 Apr 2013 12:39:29 +0000

Internationally renowned Sydney Dance Company is set to return to Adelaide in May, presenting five performances of their critically acclaimed work, 2 One Another, at Her Majesty’s Theatre, 8 – 11 May.

Sydney Dance Company last appeared in Adelaide in 2009 with a successful season of 360º, the work of newly appointed Artistic Director, Rafael Bonachela. Four years on, Bonachela is now recognised as a revolutionary force in Australian contemporary dance, currently combining his role at Sydney Dance Company and also as Sydney Opera House’s Spring Dance Festival Curator.

The exciting new offering 2 One Another is an exultant and sensual study of human interaction and relationships, exploring the couple (2), the individual (One), and the group (Another).

Beautiful, dynamic and highly physical, 2 One Another is performed by 16 of the best contemporary dancers in Australia, including 2012 Helpmann Award winner, Charmene Yap, Best Female Dancer in a Dance/Theatre Production.

2 One Another is the result of an exciting collaboration between Sydney Dance Company Artistic Director and choreographer Rafael Bonachela, set and costume designer Tony Assness, lighting designer Benjamin Cisterne, and composer/music director Nick Wales, featuring poetry by Samuel Webster.

The performance is set against a stunning digital backdrop of motion design and animation, and features an exceptional soundtrack – seamlessly embracing Baroque to electronica – shot through with poetry fragments created and utilised during the development of the work.

2 One Another premiered in Sydney in March 2012 and toured to Melbourne in November. The show has just received four Green Room Award nominations.

In addition to the five public performances, Sydney Dance Company will also present a school matinee performance, and Adelaide Festival Centre’s Green Room program for 16-30 year olds will present a Masterclass with Sydney Dance Company’s Dance Director Amy Hollingsworth. For more information visit www.adelaidefestivalcentre.com.au/greenroom

“Sydney Dance Company at the peak of their power… A thrillingly fluent piece that maintains its vibrancy over its hour-long journey.” Sydney Morning Herald

What:	2 One Another
When:	8 – 11 May
Venue:	Her Majesty’s Theatre
Hours:	Wed – Fri 7pm, Sat 2pm & 7pm
Cost:	Premium from $65, Adult from $55, Conc/Student from $50, Groups 6+ $50, Family (2+2) $152, GreenRoom $27.50, Season Subscription Adult from $50, Concession from $45
Bookings:	BASS 131 246 or online at www.bass.net.au
	For further information visit: www.adelaidefestivalcentre.com.au Get social with us on Twitter @AdelaideFesCent Facebook facebook.com/FestivalCentre

Adelaide Fringe 2013 – Symphony of Strange – Tuxedo Cat

JuliaL — Thu, 14 Mar 2013 11:41:45 +0000

Gareth Hart’s latest offering, Symphony of Strange, is just that – bizarre, eccentric, and plain weird.

Set on the top floor of Tuxedo Cat, this show was alien and incredibly outlandish. Endearing themselves immediately to the audience members by providing chilli chocolate and damp washcloths to combat the 39degree night, the performers led us into a vast empty space illuminated by so many candles that I recalled the funereal scene from Baz Luhrmann’s Romeo+Juliet.

It’s incredibly difficult to describe this show, which is presumably what Gareth Hart intended. As promised, the ‘symphony’ is performed entirely on random items, including shopping trolleys, dried leaves, and plastic cups. Artfully composed by Edward Willoughby, this original opus is mesmerising and spellbinding.

At times, the show dragged on – in particular the fact that there was no seating as we all followed Gareth around through the immense performance space made it easy to lose focus. Moreover, the hypnotic sounds of the symphony were such that at times it was tempting to block out Gareth completely, and therefore detracted from the experience.

This show is definitely one for fans of the experimental dance genre, but is worth it if you are looking for something completely unique.

Adelaide Fringe 2013 – Alice in the Madhouse – The Birdcage

JuliaL — Thu, 14 Mar 2013 10:48:21 +0000

It is upsetting that my favourite show of the 2013 Adelaide Fringe, in my favourite venue of this year’s festival, was discovered so close to the end of the season.

First to the venue – The Birdcage is one of the seemingly dozens of pop-up theatres around the state at the moment. Located in the fairly charmless Arcade Lane, this eclectic venue truly does appear to have literally sprung up from the ground, and given how it is tucked away inside the lane and up an endless flight of stairs makes you feel as though you are entering a secret, exclusive and whimsical club.

A perfect venue, then, for Alice in the Madhouse, the bizarre and nightmarish imagining of the ubiquitous children’s story. Presented almost impeccably by Madhouse Circus, a Victorian ensemble of young performers, this show approaches the quality of Cirque de Soleil, on the budget of the Adelaide Fringe.

Terrifying and emotive, hilarious and sexy (yes, ladies, there are some very attractive young men wearing very little in this show – I would almost recommend it on this basis alone), inventive and highly impressive, this show flawlessly combines physical comedy, dance, aerobatics and acrobatics with pathos and storytelling. Although there were a few – minor – opening night jitters apparent in the performance, these were swept up into the rhythm of things without a hitch, and the seamless storytelling was never interrupted.

Frankly, for me this show was near perfection, a true cirque macabre. And I’ve already bought my tickets to see it again. And again.

FESTIVAL – What The Body Does Not Remember – Ultimate Vez – 4.5K

Peter — Fri, 08 Mar 2013 02:31:08 +0000

By Peter Maddern

One of the stunning aspects of Wim Vandekeybus and his company, Ulimate Vez’s, performance last night is that it was first undertaken just over 25 years ago. There aren’t many movements in the arts world where a work badged as ‘contemporary’ could appear so fresh and well-honed as a form of art a quarter of a century on.

But that is just one of those stunning aspects. The opening movement will long remain in memory – a bare stage with just one school desk placed towards the rear is then lit by eight shafts of parallel, ground level light and occupied by two male dancers who move, gyrate (even frazzle like a Morteined beetle) to the occasional beats thumped on that desk. It was an exhilarating start.

The themes then created were sustained thereafter with the music mostly of a percussive nature and the dance movement often seemingly random and distorted but quickly regrouping into at times wonderful forms. By the end the dancers were also banging away in a closing movement which tested their stamina while demanding their sustained poise in most unusual ways.

For this reviewer, the inventiveness of the work within the themes laid out was what most captured the attention. For example, the second movement revolved around the progression, building up, tossing, catching and then destruction of white blocks of various sizes (that looked and seemingly had the composition of Jiffy fire starters) around the stage, then the merest of feathers were beautifully blown up and around and beyond that a scene that seemed to combine teenage phone booth mania with an advanced form of musical chairs. That all delivered with a wonderful sense of space on the stage for all the nine dancers who by its end all looked thoroughly adrenalised and beat.

This year’s Festival may lack a Morricone moment but its dance program, amongst those who know, I suspect will long live in memory and this work will be mentioned highly in their dispatches. For modern or contemporary dance fans, this master work is a must.

FRINGE 2013 – East, Woman Shifting on the Time Axis – Garage – 3K

Peter — Tue, 05 Mar 2013 00:32:29 +0000

By Fiona Gardner

East, Woman Shifting on the Time Axis starts with an in depth exploration of Japanese traditions, particularly of women’s submissiveness to men.

The women carefully carve their way into space wearing shoes that reflect foot binding, where the dancers are quite impressive as they walk across the stage treading delicately. As the piece projects, there are proverbs that are translated in to somewhat poor grammar. The costumes by Yu-Fen Tsai are brilliantly put together; along side the traditional sleeve dresses used in Taiwan.

The Taiwanese performing arts group have spectacular technique delivering a professional performance. This work is very inline with a neo classical style of contemporary dance. The last half of the work didn’t come across as strongly in the first half and I must say bravo to all the dancers for not hitting each other when they were all on the tiny stage.

The venue of choice was the largest pitfall, as the costumes and special alignment of the work would have been more effective on a traditional black stage.

Kryztoff Rating 3K

FRINGE 2013 – Le Foulard – Tuxedo Cat – 5K

Peter — Mon, 04 Mar 2013 23:26:22 +0000

By Fiona Gardner

Le Floulard stands for a silk, which combines theatre, dance and comedy. Coming from a movement background I highly appreciated the precision within this work along side the dramatic urge and cleverness of this one-person show.

Lucy Hopkins seems to seamlessly change her personality from God, to a tree, to sad women within the flick of a scarf. Her use of stagecraft was immaculate and engagement with the audience left you sitting on your seat wanting more. The way that Hopkins gave you the slightness shift of her head changed your whole perception of her face and what seemed to be a well-rehearsed act had moments of spontaneity and interaction with the audience.

The depth of emotion that was delivered was well appreciated and received from the spectators. This was a wonderful show which left you laughing and engaged! This is ‘a not to miss show’ running until 17^th March at Tuxedo Cat – Red Room

Kryztoff Rating 5K

FRINGE 2013 – KnickKnack – AC Arts – 2.5K

Peter — Mon, 04 Mar 2013 01:08:58 +0000

By Fiona Gardner

Consisting of five performers at the AC Arts XSpace, this piece tried to find Tony, a comical banana that isn’t even really Tony. If you like electronic music and only electronic music this could be the show for you. The two main dancers who lead you through the show look for Tony explore a range of various scenes from traveling out of space, to drinking tea to exploring Adelaide as Barbie dolls.

Although there were some quirky moments and this piece entertained the audiences, this show didn’t really say much at all. Lissi and Jemima frequently stumbled with there footing and only skimmed the real depth of connecting with their small audience. The venue layout just goes to show that some times traditional settings with light projection can be a bit minimal.

The Fringe Guide suggests the show runs for 55 minutes although in fact it only goes for 45 minutes.

Kryztoff Rating 2.5K

FESTIVAL – 6000 MILES AWAY – Sylvie Guillem – 5K

Peter — Sun, 03 Mar 2013 06:07:38 +0000

By Julia George

Australian Premiere – Season closes 4 march

Dance lover’s rejoice! Wondrous, leading ballerina Sylvie has finally hit our shores in this incredible Australian premiere.

At 48 years old, it is no wonder why Sylvie is still regarded as one of the greatest ballerinas of our time. She performs this profoundly beautiful, refined work with grace &elegance, and the physically-intense choreography appears effortless & weightless as if she is floating.

This work is a triple-billl, and Sylvie does not dance in the opening work 27’52” by Jiří Kylián, which is danced by three other dancers- Vaclav Kunes & Natasa Novotna, with the participation (in the closing of the piece) of Benjamin Stuart-Carberry (of the Australian Ballet). This work opened as quite a physical duet and softened part way through. The agility of the dancers was incredible to watch as they seamlessly weaved around each other, working together effortlessly. The set design was simple and modern, with a ‘warehouse’ feel.

In the second work, a duet titled Rearray by Forsythe, Sylvie is joined on stage with Massimo Murru. This work is highly-contemporary with a strong classical edge. The lighting design (also by Forsythe) was interesting, with the lights constantly fading in & out (to blackout) throughout the piece. The lighting was also quite dim on stage, which made it hard to focus at times (especially in the big theatre the Festival Theatre is).Sylvie shone in this work, outdancing her talented male counterpart.

After a short interval the audience was treated to Mats Ek’s Bye, performed as a solo work by Sylvie Guillem. This piece integrated digital media on stage in the form of a 2x1m screen, projecting at times comical video (of other people & a dog), which Sylvie interacts with throughout the work. A much lighter choreography & performance than the previous – also more engaging, with some giggles & claps during the performance from the audience. Bye did not fail to show off the incredible physical prowess of Sylvie, leaving the audience in awe.

This show is a true masterpiece highlighting Sylvie’s unique technical perfection. The trilogy of work is diverse, interesting and mesmerising. It’s not everyday you have the opportunity experience an international master perform their craft, and this is one opportunity that shouldn’t be missed!

Adelaide Fringe – Macbeth’s Witches – The Garage International at NACC

JuliaL — Sun, 24 Feb 2013 01:25:32 +0000

Every now and again, the Adelaide Fringe provides something so unusual and so strange that it is almost impossible to review. Well, my new polarising bench-mark is Macbeth’s Witches, created and largely performed by the indomitable Shakti, who is joined by members of her VasantaMala Dance Company.

The thing about this show, which purports to demonstrate the world view of Macbeth’s trio of witches and their evil leader Hecate, is that I understand where it was trying to go, and at some times it almost works – the mesmerising motion of three supernatural beings and their leader controlling the elements, the sense of impartiality to the fate of the humans are all unique and plausible interpretations of ‘the Scottish play’… but it just doesn’t quite get there.

At some points, I think I nearly drank the KoolAid – or maybe my senses were just too assaulted by the loud music and the soporific, hypnotic motions of the dance troupe who were effectively doing a combination of Tae Bo and yoga moves , albeit not overly impressively, and certainly not in sync – enough to almost enjoy the show. In any event, despite myself I found myself almost literally sucked in by parts of the performance. But the truth of it is that the show was just too exaggerated, too over the top and too darn strange to truly work, and I found myself having to hide a snigger as Shakti did her best hammed up version of Lady Macbeth and gyrated across the stage in various dominatrix-style outfits.

I warn you that this show is not for the faint-hearted. Indeed, from the moment that Shakti strode out in a lurid skintight Lycra dress that could only have been bought from a sex shop, wearing stripper shoes and bearing a whip, I felt as though I had fallen down a wormhole into a Phuket ping pong show. And although I hate to sound prudish – Shakti’s ‘costume’ (which consisted of mere strips of material, not overly discriminately placed) in the final scene left very little to the imagination and, dare I say it, was a little frightening.

I emerged from the performance feeling smutty and voyeuristic, like I had accidentally crashed the masked ball in Tom Cruise and Nicole Kidman’s soft pornographic movie ‘Eyes Wide Shut’. But if this is your cup of tea, then Macbeth’s Witches is worth a look. Otherwise it might be best to pick something else.