Untamed: Sydney Dance Company

Wildebeest and Anima. Roslyn Packer Theatre Walsh Bay, Sydney, October 20.

In the double bill Untamed, Gabrielle Nankivell’s Wildebeest and Rafael Bonachela’s Anima come at the same question – what is our true, essential nature? – from quite different perspectives.

Nankivell sets humankind’s most primal impulses against the slick, guarded sophistications of modern life. The dancers are at one moment instinctive pack animals huddling together for safety or fighting ferociously for dominance; the next they are cool, automaton-like figures who could be composed of binary code.

At the centre of Bonachela’s work is a long, slow, intimate duo for two men, framed by a frenzy of activity. Imagine, if you will, the stage as a kind of Large Hadron Collider, charged with dancers rather than particles. They whizz about at jaw-dropping speed, occasionally smash into someone and then dash off, only to return with another burst of superhuman stamina.

Broadly speaking you could say that Nankivell is fascinated by the strangeness of the human animal and the way it arranges itself into societies while Bonachela wants to give physical expression to unseeable private thoughts and emotions – to make them literally take flight.


Gabrielle Nankivell’s Wildebeest. Photo: Pedro Greig

It’s a strong program, aptly named and thrillingly danced by Bonachela’s exceptional ensemble. As the dancers lined up to take their bow after Anima (it came second), they looked exhausted but exhilarated. The opening night audience responded with a huge ovation, sending waves of energy back to the performers, who took call after call. Some of them have been with Bonachela since he took over the artistic directorship of SDC in late 2008 and others joined only this year, but every last one of them dives into the work with equal passion and daring. It’s wonderful to see how physically diverse the group is and how united in intensity.

Wildebeest premiered in SDC’s new choreography program, New Breed, in 2014. It was by far the most accomplished work on the bill and it’s heartening to see it given greater exposure. Nankivell sees beauty and wonder in the primitive, animalistic self. In the opening solo Bernhard Knauer (on opening night; Juliette Barton shares the role) luxuriates in the discovery of the body’s potential as the dancer evolves from wobbly-limbed newborn to hyper-alert individual.

Impelled by Luke Smiles’s thundery, shivery soundscape, groups form, attack and scatter. Suddenly the mood changes dramatically and mechanistic formality takes over. Warm-bloodedness and wild individuality are replaced by a faceless mass, led by the brilliantly chilly Holly Doyle and Todd Sutherland. Their flashing arms bring to mind a futuristic version of an Indian god whose original purpose has been long forgotten, and the brief outbreak of night-clubby group gyrations has a similar feel of blankly repeated ritual.

Ending back where it began, Wildebeest closes with a brief solo, memorably performed by Janessa Dufty, which suggests a continuous loop of existence, possibly even parallel universes. If one has an optimistic cast of mind it also suggests that no matter how thick the accretions of time and experience, at bottom we are sensual, aware, vulnerable, imaginative and inquisitive beings.

Bonachela made Anima to dance-ready music by Bulgarian-British composer Dobrinka Tabakova, prefacing her Concerto for cello and strings (2008) with the short Insight for string trio (2002). Tabakova’s restless, densely packed rhythms propel and buoy the swiftest movements persuasively. Soloists, duos, quartets and larger groups take the stage in turns, briefly, powerfully and anonymously. They are a muscular choir of angels whose expansiveness and high-flying freedom is in stark contrast to the groundedness of the men at the heart of the work.


Rafael Bonachela’s Anima. Photo: Pedro Greig

The cello concerto’s middle movement, which Tabakova titles Longing, has a long-breathed, sweet melody that sits above a cloud of strings before darker intimations set in. It invites, and is given, a heartfelt pas de deux that on opening night Cass Mortimer Eipper and Petros Treklis invested with tenderness and something like emotional caution or unease. There isn’t enough, however, to sustain the nearly nine minutes of music, so the dominant impression of Anima is its pedal-to-the-metal physical exuberance rather than the desired interplay of interior spirit and its exterior manifestation.

The blurry suggestions of dancers’ bodies, designed by Clemens Habicht and projected on to a screen at the back of the stage, are an intriguing, albeit a little too self-effacing, part of the concept. Far less intriguing are Aleisha Jelbart’s costumes for Anima, which essentially make it look as if these spectacular, heroic dancers were sent out in their underwear. Bonachela likes the dancers’ bodies to be attired relatively simply, it would seem, a state Fiona Holley achieved successfully with her earth-toned tops and shorts for Wildebeest.

Longtime Bonachela collaborator Benjamin Cisterne lit both works, rather overdoing the colour washes in Anima. With the arrival of each new shade in the central pas de deux one rather wondered what it meant. In Wildebeest, on the other hand, the connection with movement and score was precise.

SDC has released its program for 2017 and Wildebeest will not be a one-season wonder. In February and March it is danced on a US tour as part of a triple bill (the other works are Bonachela’s Frame of Mind and Jacopo Godani’s Raw Models) and is performed around Australia with Frame of Mind in June, July and August.

Good old New Breed, one must say. Except there is no New Breed scheduled for 2017. It was always clear that generous philanthropy organisation The Balnaves Foundation was supporting New Breed for three years only, and next month’s event is the third (Carriageworks, November 29-December 10). Presumably no new financial backer has been found at this stage to continue the program.

Over the years SDC has found various ways to bring new and under-appreciated choreographers into the fold. The late, lamented Spring Dance festival at the Sydney Opera House, for instance, brought Larissa McGowan’s Fanatic to the attention of a most appreciative public in Sydney in 2012 and Bonachela gave it a mainstage season in 2013.

Let’s hope someone from the 2016 New Breed – participants are SDC dancers Richard Cilli and Jesse Scales, plus Shian Law and Rachel Arianne Ogle – comes up trumps. But of course you can’t guarantee that. It’s why you have to keep on looking out for and giving chances to those who show a spark. Which costs money, and brings us back to arts funding. Don’t get me started.

Untamed ends in Sydney on October 29.