Te Whaea Theatre, Wellington
November
In order to accommodate both the classical and contemporary streams at the New Zealand School of Dance, director Garry Trinder has devised a mixed program of works for this year’s graduation. From Bournonville to Paul Taylor, Balanchine to newly commissioned contemporary works, this ambitious program makes diverse technical and stylistic demands of the students, not all of whom are graduates; second and first year students also perform.
Bournonville’s Napoli Divertissements is the least successful item on the program, partly because it’s a rather stilted old chestnut, partly because, without narrative or strong emotional content, it forces the audience to focus on technique. While the opening pas de six was danced with assurance, several of the solos suffered slightly from insufficient technical command, particularly of footwork. The three male dancers, Dane Holland, Edward Dobinson and Jason Carter, are like colts that haven’t quite grown into their legs, but all exhibit considerable promise. Indeed, all of the students demonstrated a nice grasp of Bournonville’s port de bras, and the two most petite students, Jesse Scales and Lee Jia Xi, danced with lovely precision and lightness.
The next work couldn’t be more different: young Australian choreographer Lina Limosani’s Whispers from Pandora’s Box is a hugely entertaining schlock-horror romp for 14 dancers. Divided into two groups, clad in either grey tunics or white tops and red shorts, they are rendered indistinguishable by heavy clown make up. Playing alternately at being horror ghouls, grimacing, trembling and clutching at themselves, then staging repeated acts of mock violence on each other, the performers mastered the comedy and split second timing impeccably. Although let down by a rather lame ending, this is another promising work from Limosani that plays to the considerable comic strengths of the students from the contemporary stream.
Maria Dabrowska’s Recent Bedroom, a contemporary trio for two boys and a girl, is an emotionally tense piece that uses chairs to track the constantly changing dynamics of the threesome’s relationships. The dancers alternately collapse astride their chairs and are saved or manipulated by the others, giving rise to some lovely partnering. On the night that I saw the show it was given a very strong performance by Alice Macann, Gareth Okan and James Pham.
A selection of dances from Balanchine’s elegant Emeralds, part of his 1967 Jewels triptych, is a more forgiving vehicle for the classical students than Napoli, and they give a convincing account of two of the solos and the pas de trois. In the opening Fileuse, Laura Jones, resplendent in a bejewelled green velvet bodice, was notable for her swirling, lyrical port de bras, and in the pas de trois, Jesse Scales’ precision and control were once again outstanding. Christopher Gerty was also noteworthy.
With the next work, SUM, 2001 alumni Ross McCormack, who has danced with Douglas Wright, the NZ Ballet, ADT and Les Ballets B de la C, gives notice that he’s a choreographic talent worth watching. This terrific ensemble piece for 10 dancers starts with a man in a handstand position, back to the audience, and runs the gamut from duets in which clothing is shared between couples, hakka-ish ensemble work, to mass grass-hopper-like moves across the floor, all set to Lebanese pop music. It’s a delight from beginning to end, and the dancers give it their all: James Pham is particularly outstanding for his sharp moves and characterisation.
Both streams come together for Paul Taylor’s classic, Company B. Set to the hit songs of the Andrews Sisters, it’s a piece of Americana that relies on sassiness as much as technique, and the students really deliver the goods. The whole ensemble performs with conviction, but Rebekha Duncan stands out as both convincingly flirty and technically assured in Rum and Coca-Cola, whilst loose-limbed Jonathan Selvadurai makes the most of his solo Tico Tico.
All in all, this program gives the dancers a fantastic opportunity to show their mastery of a range of styles, and it’s no surprise to learn that a large number of the graduates have been snapped up by companies across the region.
- MAGGIE TONKIN