Western Australian Academy of Performing Arts: "Jardi" -
Geoff Gibbs Theatre, 16 November 2013 -
With the remounting of Nacho Duato’s Jardi Tancat, premiere performances of new work by highly respected Australian choreographers Sue Peacock and Leigh Warren, and excerpts from Act I and Act III of Coppelia, WAAPA’s dance department offered an evening of interesting challenges and diversity and revealed a wealth of up-and-coming talented young dancers in the classical and contemporary Diploma and BA courses.
To an orchestral recording of parts of Delibes’ melodious score, Coppelia Suite was devised and expertly staged by Kim McCarthy and Andries Weidemann and opened the programme. Smoothly linked dance sections with the incorporation of some character interaction and mime, and a traditional built set and costume design by WAAPA student Charlotte Gee, established a suitably theatrical setting for the exuberant and polished performances that were to come as Swanhilda (Rhianna Izard), Franz (Liam Green) and ‘Friends’ danced their way through the Act I Mazurka, Ballade de l’Épi and Theme Slave Varie sections with infectious vitality.
An exquisite Dance of the Hours (1st year students with an abundance of lovely arabesques and port de bras, perfect musicality and light landings), Dawn, (the versatile Rhianna Izard) Prayer, (Jessica Cox with style, control, and lovely bourrées and penchés) and a beautifully danced Betrothal Pas de Six, were capped off by commendable performances by Genevieve O’Keeffe (Swanhilda) and Liam Green in the Act III Grand Pas de Deux. Liam Green partnered attentively and, with impressive line and placement, strength and virtuosity, was outstanding in the solo and coda. Genevieve O’Keeffe was technically secure and very appealing to watch. Both dancers have accepted Young Artist contracts with West Australian Ballet for 2014.
Sue Peacock already has a successful body of work to her name and Universal Order, created in collaboration with WAAPA’s BA dance students, adds to this list. To a mixed genre soundtrack, Universal Order explores random events and moments of coincidence and synchronicity and ‘meaning in chaos,’ and further develops Peacock’s interest in using spoken text to challenge concepts of movement and form.
Eighteen performers in black begin grouped on an open stage with the open black wall of the theatre behind them, and one-by-one speak into a preset microphone before moving slowly, alone, then in pairs and trios, but not connecting. Small links and coincidences are made in the continuing dialogue; tales of inexplicable happenings, chance meetings and tragic events occurring because of last minute decisions, and a recurring reference to a RAAF and a WAAAF. Movement is mostly minimal and random, focused more on arms, with relaxed legs and feet and some running. Dialogue continues throughout and all performers achieved admirable vocal clarity. The text is not without unexpected and subtle humorous sections, which are an adroit touch but needed more effective timing in delivery.
Leigh Warren’s There’s No Time Like The Present features a clever minimalist design by student Olivia Faraone of a line of doors tilted at descending angles, some cool lighting effects, and inspired choices of recorded music (Alexander Mitchell, Osman Arabi) which provide a dynamic structure. Warren in his programme notes describes it as: “…a work in eight parts, non linear, deja vu, blink, limbo, skip, borrow, squandered, and tide.”
With Warren’s skilled use of space, patterns, placements, groupings and astute lighting changes, the work is visually attractive and his young cast of twenty dancers in loose-fitting street clothes, delivered committed, disciplined performances. Often seen through smoky haze, the movement is jerky, jittery, and at times primal with wild running and jumping, complicated partnering and a sense of fight or flight unease. I confess to finding some sections confusing and unsettling but saw it as a frantic need to make up for time lost and missed opportunities, all concepts to challenge the Gen Y dancers setting forth on their dancing careers.
The programme ended on a high with loud cheers for Kim McCarthy’s splendid remounting of Jardi Tancat choreographed by Nacho Duato in 1983 for NDT 2. To recorded percussion and Catalan folk songs by María del Mar Bonet, dancers Zoe Wozniak and Jake McLarnon, Genevieve O’Keeffe and Liam Green, Sophia Natale and Sam Young-Wright, produced a performance as professional as one could ever hope to see, and with fluidity, precision, athleticism and focus, captured the quality and integrity of this stirring work.
- Margaret Mercer