Sydney Festival
Shaun Parker & Company: Am I -
Drama Theatre, Sydney Opera House, 9 January -
Strut and Fret, Underbelly Productions and Southbank Centre: Limbo -
The Spiegel tent, Hyde Park, 10 January 2014 -
With his latest work, Am I, choreographer Shaun Parker has created a far more cerebral work than previous hits such as The Yard, and Happy as Larry and the end result has its strengths and weaknesses. The underlying concept of what defines us as individuals is perhaps too broad to be fully explored in a 75 minute work but it is certainly interesting to see how complex concepts and theories have been translated into such finely detailed choreography.
From the very beginning Shaun Parker’s choreography centres around locking and popping movements with a staccato dynamic that make the dancers look as if they are folding back into themselves without having truly extended their limbs. The use of short metal sticks and a fan as hand held props goes some way towards holding audience interest as the movement remains heavily stylised and repetitive for the first hour. But there is a definite sense of relief towards the work’s end, when the dancers finally start to travel across the stage in fluid, circular shapes. It’s this for which we have been waiting.
The seven dancers looked to be well rehearsed by rehearsal director Craig Bary although some sections, in particular the opening one, were more synchronised than others. Dancers Josh Mu and Sophie Ndaba stood out for the clarity and accuracy of their movement.
Parker’s long time collaborator, composer Nick Wales, has created a lush, trance-like score with hypnotic rhythms that evoke a tribal atmosphere. It is played live onstage with seven musicians (including Wales) seated above a wall of lights that form the backdrop to the dancer’s performance space. And although the dancers and musicians do not physically interact, the dancers seemed to be energised by the immediacy of live musical accompaniment. Lighting designer Damien Cooper’s wall of lights is visually effective for the most part but uncomfortably and startlingly bright when suddenly turned up to the max at several points during the show. Perhaps it is meant to represent the searing, burning heat of the sun? At any rate a pre-show warning or substitution for lower wattage globes would have been nice.
Dancer and performer Shantala Shivalingappa played a key role in structural continuity, stepping in between sections of dance to deliver spoken statements on topics that range from our beginnings in the cosmos and the role of oxytocin in forming emotional bonds, to the mysterious number pi. While she spoke with authority and presence, some of the statements are a bit esoteric and would benefit from some revision. In fact, Am I’s main weakness lies not in its underlying concept of what defines us as individuals but in its approach to addressing this concept - it sits uncomfortably between scientific, philosophical and spiritual perspectives.
Where Am I has a deeply intellectual foundation, Limbo is bubbly as champagne, pure entertainment and adrenaline. Despite showing within walking distance of each other the two works are poles apart. With nine versatile performers including acrobats, dancers and musicians, Limbo is packed with a range of circus style acts put together by creator/director Scott Maidment. From sword swallowing and fire breathing to a vast array of acrobatic stunts, this crowd pleasing show has the advantage of an incredibly beautiful, old fashioned venue and provides continual novelty. Australian dancer and performer Hilton Denis is credited with the choreography and appeared to be in his element with plenty of showbiz style sass and confidence. His tap dancing routine was a highlight of the show along with Danik Abishev’s hand-balancing routines and Mikael Bres’ dexterity on the chinese pole. It was a loud, bold, show but a lot of fun all the same.
-GERALDINE HIGGINSON
Limbo runs until January 26. Bookings/more info: www.sydneyfestival.org.au