Top 10 in dance for 2014

DANCE is my great passion but this year there wasn’t a huge amount to bowl me over.Certainly I saw plenty of fine dancing – when does one not? – but in classical ballet there were few new works of substance. Well, none actually. There were pleasing new versions of existing ballets, although they didn’t quite make it to the list. New versions of oft-told stories is business as usual for ballet.

In Sydney there were new contemporary works I failed to see because the seasons were so short – this city isn’t exactly dance central – but there were a couple of new (or newish) pieces that added some excitement. Happily I was able to travel a bit and that helped me see enough to constitute what I might consider a quorum for a list of notable productions. If I saw it in this country I’ve included it, which is why American Ballet Theatre and Trisha Brown Dance Company appear alongside the locals.

As in my earlier posts looking back on 2014, works are mentioned in the order in which I saw them. There is a supplementary international section at the end. I intend to do a separate post on the men and women of the year so if someone rather than something appears to be missing, they may well be mentioned tomorrow.

DANCE WORKS OF NOTE IN 2014

Am I, Shaun Parker & Company, Sydney Festival and Sydney Opera House (January): A strong addition to this meticulous choreographer’s body of work. It looked and sounded stunning. Nick Wales, who has worked many times with Parker, contributed a new score full of fascinating colours, rhythms and sonorities, played and sung by a group of seven musicians. Meticulous, elegant and sophisticated, Am I ambitiously took ideas from physics, astronomy, neurology, anthropology and other branches of science to chart the path of human development. We are the only creatures who can apprehend ourselves as conscious beings with a limited span. Having evolved to that point, our drive is to survive and replicate, to make love and war, and to think about things too much.

Gudirr Gudirr, Marrugeku, Sydney Festival (January): Dalisa Pigram is a passionate advocate for life in Australia’s north-west. She wove a memorable solo from themes relating to the area’s indigenous history, polyglot population, environmental beauties and present-day challenges. Simultaneously wiry and elastic, Pigram seamlessly incorporated shapes from indigenous dance, martial arts, animal imagery, gymnastics, the nightclub and the circus for a wholly individual effect. When she spoke in her traditional language, Yawuru, it became a liquid element in Sam Serruys’s score, which also included songs from Stephen Pigram.

Interplay, Sydney Dance Company (March): The triple bill of Rafael Bonachela’s 2 in D Minor, Jacopo Godani’s Raw Models and Gideon Obarzanek’s L’Chaim! made a cracking evening. Bonachela’s take on Bach’s Violin Partita No. 2 in D Minor was an intellectually challenging engagement between movement and music; the second new piece, Gideon Obarzanek’s L’Chaim!, had heart and joy; and the revival of Jacopo Godani’s Raw Models – well, that gave the libido a workout.

Chroma, The Australian Ballet (April): Wayne McGregor’s Chroma wasn’t as brilliantly danced as it can be when I saw it but it’s a tremendous work. In seven swiftly moving, grandly conceived scenes the choreographer captures on the dancer’s body some of the myriad neural impulses that make it move, think and feel. Undulation, distortion and hyper-extension are a big part of the movement language but we can also see fragments of the classical ideal shimmering through Chroma. The juxtapositions are absorbing: small and large, inner and outer, action and repose, contemporary and traditional, the body and the space it occupies. Also on this generous quadruple bill, Jiri Kylián’s Petite Mort. The AB always does Kylián well and in Petite Mort there is so much to love: men with fencing foils, intimations of darkness and some outstandingly sexy dancing with lots of little orgasmic shudders.

Patyegarang, Bangarra Dance Theatre (June): The story of Lieutenant William Dawes and young indigenous woman Patyegarang in colonial Sydney should be better known. In the tumultuous first years of white settlement, as the British colonisers imposed themselves and their culture on what is now the glittering city of Sydney but was then the Eora nation, Dawes studied and recorded the local language. Patyegarang appears to have been his most important teacher. Stephen Page turned this rare and precious relationship into an impressionistic, meditative work.

The Arrangement, Australian Dance Artists (July): This little jewel could be seen by invitation only, and I was one of the lucky ones. Prime mover was artist Ken Unsworth, who may be in his ninth decade but has lost none of his zest for the complexities of human existence, often casting an absurdist eye on events. He made a cameo appearance at the beginning of The Arrangement to usher in a series of scenes connected not by any narrative but by themes of love, longing, the passage of time and the cycle of life. The mature ADA dancers were former London Contemporary Dance Theatre artists Anca Frankenhaeuser and Patrick Harding-Irmer and Sydney Dance Company alumni Susan Barling and Ross Philip. The Song Company sang texts by A.E. Houseman, Federico Garcia Lorca, W.H. Auden, Barnabe Googe and Rainer Maria Rilke to Jonathan Cooper’s commissioned music, and it was all very fine indeed. Unsworth finances ADA productions entirely – a great labour of love.

Keep Everything, choreographed by Antony Hamilton for Chunky Move (August): There wasn’t much that was more fun than this. A stage strewn with trash, three incredibly virtuosic and multi-skilled performers, a race through the human story from pre-history to the stars and back again and plenty of stimulating ideas along the way.

American Ballet Theatre, Brisbane (September): Forget Swan Lake; the Three Masterpieces program was the one to see. Jerome Robbins’s Fancy Free was highly enjoyable, but the real treats were Twyla Tharp’s Bach Partita, which was recently revived by ABT after a 28-year hiatus, and Alexei Ratmansky’s Seven Sonatas. Glorious works both.

Trisha Brown Dance Company, Melbourne Festival (October): Trisha Brown was a leading figure in the post-modern dance movement in New York and her influence runs deep. The survey of her work at the Melbourne Festival showed exactly why, but it was far from a history lesson or an academic exercise. Brown’s intellectually rigorous and highly technical dance-making is deeply concerned with the physics and geometry of the body and its relation to the space in which it moves, and her purpose is not to mimic or evoke emotional states. Yet the varied program demonstrated one quality above all that animates the work: intense, soul-filling joy.

The Nutcracker, The Australian Ballet (November): Peter Wright’s version of The Nutcracker is frequently said to be the most beautiful in existence, and there is a lot of competition. When I see Alexei Ratmansky’s newish production for American Ballet Theatre I’ll get back to you on who is the winner. But quibbles aside, this certainly is a sumptuous-looking production, even if it looks rather cramped on the stage of the Joan Sutherland Theatre at the Sydney Opera House. Even better, it touches the heart.

INTERNATIONAL NOTES:

A highlight of my New York visit early this year was finally getting to see the Jerome Robbins masterpiece Dances at a Gathering, a suite of dances to Chopin piano pieces that has no narrative but is full of connections between the dancers. To see it performed by the company for which it was made in 1969 was a dream come true.

On an all-Balanchine bill at New York City Ballet, Concerto Barocco (1941), was a revelation. Made to the music of Bach’s Double Violin Concerto in D Minor, Concerto Barocco is said to mark the first appearance of Balanchine dancers in practice clothes, something that would become a feature of many works. Here the women are all in white, with a little skirt. Eight women who form a kind of chorus of handmaidens, two principal women and one man move in unison, canon, mirror one another, and enter and leave in response to the music. Poetry and harmony reign and the detail is delicious: at one point the solo man is gently entangled in a thicket of the supporting women; at another he turns a simple promenade of his partner into courtly admiration. Just lovely.

 Tomorrow: The people who mattered

‘A string of pearls’

Patyegarang, Bangarra Dance Theatre. Drama Theatre, Sydney Opera House, June 12.

THE story of young indigenous woman Patyegarang and Lieutenant William Dawes of the First Fleet is rare and precious. In the tumultuous first years of white settlement, as the British colonisers imposed themselves and their culture on what is now the glittering city of Sydney but was then the Eora nation, Dawes studied and recorded the local language. Patyegarang appears to have been his most important teacher.

Bangarra Dance Theatre’s long-serving artistic director Stephen Page has chosen to mark the company’s 25th anniversary with this touching connection between black and white – a meeting of minds that took place just a short stroll away from the theatre in which Patyegarang received its premiere.

Top, Jasmin Sheppard and Thomas Greenfield; above, the Bangarra ensemble. Photos: Jess Bialek

Top, Jasmin Sheppard as Patyegarang and Thomas Greenfield as William Dawes; above, the Bangarra Dance Theatre ensemble. Photos: Jess Bialek

And perhaps it was a meeting of bodies too. That is the strongest impression gained from Page’s rendering of Patyegarang’s relationship with Dawes, perhaps inevitably so. The wordless physical language of dance finds it easier to imply intimacy of the flesh than of the intellect.

Page takes a non-literal, dreamlike approach to this sliver of history. In 13 brief scenes he touches on life before dispossession, its rituals and its spiritual breadth. After colonisation comes conflict and resistance, although these elements share the misty quality that veils the piece as a whole. As one scene melts into another it become evident that narrative has a very small part to play. Patyegarang is a highly impressionistic, meditative work.

As always with Bangarra, the staging of Patyegarang is outstandingly beautiful, so much so that it may be enjoyed as a work of visual art (Jacob Nash, set; Nick Schlieper, lighting; Jennifer Irwin, costumes). The evocation of a pristine land and the play of light on rock are magical, adding to the atmosphere of otherworldliness.

All this means Patyegarang is stronger on mood than specifics. It’s like a string of pearls, perhaps too loosely strung. The soft lustre is appealing but greater tension and more varied emphases, particularly in composer David Page’s rhythmic structure, would make a more powerful impression.

There are no reservations about the performances, chief among them Jasmin Sheppard’s luminous, enigmatic Patyegarang. She is the glowing centre of the work. Much of the movement for Thomas Greenfield’s Dawes aligns him with the indigenous men and leaves him looking a little unrealised as someone from another world, but Greenfield is an imposing man who makes the most of what he has. The other standout is Elma Kris, Bangarra’s senior dancer and a performer of quiet but radiant charisma.

While Patyegarang as a whole is a touch diffuse there are many individual moments as striking as any in Bangarra’s formidable history. A section titled Night Sky takes place under a canopy of lights, alluding to Dawes’s knowledge of astronomy and perhaps to the Seven Sisters, a group of stars that features in Indigenous legend. And nothing is more affecting or effective than the image of a young woman mourning the departure of her friend, her head covered with his red coat as if prefiguring a Magritte painting.

In the last moments we hear the word Eora repeated and see a tableau that suggests permanance. There are only three people on stage and the language is soft to the point of fading, but they are there. Page calls this scene Resilience.

The meetings between Patyegarang and Dawes apparently lasted only a few months. Certainly Dawes was not long in the colony. He didn’t want to leave, by the way. He wanted to settle in Sydney but was denied permission and left in 1791. Just three years later he was commended by none other than anti-slavery campaigner William Wilberforce for his commitment to that cause. Of Patyegarang there seems to be no other trace.

Patyegarang runs in Sydney until July 5. Then Canberra, July 17-19; Perth, July 30-August 2; Brisbane, August 15-23; Melbourne, August 28-September 6.

A version of this review appeared in The Australian on June 16.