RELEASE THE STARS
August 13-21
Melbourne
"Release The Stars" marks contemporary dance company Vertical Shadows' fifth full-scale production since forming in 2008. This, their only 2011 performance, is a triple bill at St Kilda's Theatre Works.
The dancing began before the audience was seated, which was slightly confusing as the theatre doors had opened late. The opening sequence, Fox Times, saw three female and three male dancers in black, on a black stage, against a black backdrop, with a soothing soundtrack of bird calls and other wildlife. The dancers' execution of the choreography was inconsistent - some dancers doing two turns and others three or even just one in their pirouettes, some with pointed feet whilst others were flexing. Even from my elevated seat, it looked like their use of the stage wasn't maximised, and their spacing was slightly off. A solo (performed by Jayden Hicks) was accompanied by a breathtaking violin composition, but the choreography does not do justice to the beautiful music. The solo was quite lengthy and not as enjoyable as the ensemble.
Grow Up and Blow Away was the bill's standout. Again, no set except for a fabulous old gramophone, and five girls who were gorgeous enough to decorate the stage. A "current jazz" piece to 1950s and 60s blues, the girls exhibited a very restrained and demure sexiness - impossibly long lashes (for flirtatious winks to audience members) and coy smiles, coupled with waspish waists and sky-high heels. The piece featured lots of Madonna (circa early 90s Vogue) hand and arm movements, and lots of siren-esque hip swaying to the smooth Etta James tunes - tunes that had everyone in the audience bopping their heads. Then suddenly - the dresses were off, and the five girls were in black underwear, crawling all over each other on the floor.
The third (and eponymous) piece featured three females and four males in evening wear (by Bellucio), and used great backlighting in parts so that the dancers looked like shadow puppets. The piece featured a lot of dramatic walking around the stage with blank expressions, to industrial noises. Soloist Jess Mortlock looked lovely and swished around the folds of her chiffon dress nicely, but there could have been more actual dancing in the piece. Vertical Shadows artistic director and choreographer Stephen Agisilaou joined Mortlock for a furiously paced pas de deux which displayed a lot of variously floaty and flamboyant wrist movements, but again, the piece didn't leave me wanting more.
All in all, Vertical Shadows' solo work is somewhat tedious, but as a group the company is enjoyable to watch - particularly because of the excellent use of music.
- ASTRID LAWTON