Amy Hollingsworth at Expressions Dance Company: warrior for the human condition

Amy Hollingsworth can’t be too specific about the first season she is curating as artistic director of Brisbane-based Expressions Dance Company – details for 2020 will be announced later this year – but she can talk about the philosophy that secured her the job. EDC may have a core of only half a dozen dancers but it’s safe to say she’s not thinking small.

In December of last year Hollingsworth was named successor to long-serving AD Natalie Weir; by January she had her feet under the desk in a large, light-filled office in EDC’s headquarters in the Judith Wright Centre of Contemporary Arts in Fortitude Valley. This year’s program had already been set by Weir so Hollingsworth is shepherding that through as she develops the ideas that will put her own stamp on the organisation.

Amy Hollingsworth - Photo By David Kelly

Expressions Dance Company artistic director Amy Hollingsworth. Photo: David Kelly

 

By definition a contemporary company is “of the now”, says Hollingsworth so change is a given when a new artistic director is appointed. She has said on several occasions that two words central to her thinking are freedom and fire. They are concepts that may appear nebulous but a long conversation with Hollingsworth makes it clear they are shorthand for a wide range of concrete possibilities.

Inside the company she is passionately committed to giving artists a strong voice in the creative process and more autonomy than is usual in many dance ensembles. She values teamwork, risk-taking, imagination and individuality and wants those qualities to animate and invigorate work. She has choreographed herself but will lead EDC as a curatorial director: “I love gathering around me like-minded people with whom I can have robust conversations about the work we’re going to do. I want a home of true collaboration that’s vibrant, welcoming, and dedicated to shaping and nourishing the craft.”

Looking outwards, Hollingsworth says EDC must be reflective of the world in which it lives and to be a visible, active part of it. This means, among other things, having diversity onstage and in the audience and understanding the place of a live performing art in today’s highly digitised environment. It means connecting with as many people as possible – the company needs to be seen not only on conventional stages but on film or in site-specific pieces that can travel anywhere.

In addition, Hollingsworth wants to continue what she calls EDC’s “civic mission” of working with young people and in schools and would like to have a four-year plan for the EDC Youth Ensemble that was created only this year. She talks about interdisciplinary partnerships, engagement with technology and more. Much, much more.

Arts companies, she says, have public voices and should make themselves heard. In her marvellous phrase, they must be “warriors for the human condition”.

The EDC board didn’t have to go far to find Weir’s successor, and to find a spectacularly qualified one. Hollingsworth was working down the road at Queensland Ballet, where she had been ballet mistress and creative associate since 2016 after spending a year with Expressions as rehearsal director. She’d come to Brisbane from Sydney where she’d been a dancer and dance director for old friend Rafael Bonachela at Sydney Dance Company. And before that she had a brilliant international career as a dancer.

The choreographers she’s worked closely with are a who’s who of contemporary dance today: Wayne McGregor, Michael Clark, Javier de Frutos, Jiri Kylian, Hofesh Shechter and Mats Ek among them. She can count Akram Khan as a friend. “I’ve spent my whole dance life standing beside great choreographers,” she says.

Hollingsworth was a sporty child whose ability at swimming could have taken her in that direction. She liked it “an awful lot”. Dance, however, finally won. Hollingsworth loved it enough to work her way through a catastrophic injury suffered early in her professional career when she was with Royal New Zealand Ballet. She used the long rehabilitation time wisely. “I now would not take that experience back,” she says. “It highlighted how important dance was to me.” Hollingsworth learned the value of resilience, determination and perseverance and on her return to dance rose to the rank of principal artist at RNZB. The injury underscored the need for dancers to have a wide range of skills, something she will encourage at EDC. She sets an excellent example. Over the years Hollingsworth has studied science, arts management, Pilates and has her helicopter pilot’s licence.

Hollingsworth joined RNZB straight from The Australian Ballet School. She had always loved the classical story ballets and danced plenty of them but became deeply attracted to original work. An experience with choreographer Douglas Wright in New Zealand planted the seed. “I felt most invigorated when working on a new creation,” she says. A stint as a founding member of Peter Schaufuss Balletten in Denmark in 1997 took her to the northern hemisphere and then to Rambert Dance Company under the direction of Christopher Bruce.

Hollingsworth met Bonachela at Rambert and in their spare time the two would go into a studio “to play … in the studio we set each other off. A monster was born.” Not exactly a monster. Bonachela went on to found Bonachela Dance Company in 2006 and Hollingsworth went with him as a founding member. She became Bonachela’s assistant director and returned to Australia when he took over at SDC in 2009. She retired from performing in 2011 in a solo, Irony of Fate, which Bonachela made for her. She then concentrated on her work as SDC’s dance director until moving to Brisbane.

At QB her work included oversight of the company’s valuable contemporary Bespoke program, established in 2017. She choreographed a piece, Glass Heart, for that first Bespoke but at the time I wrote:

Hollingsworth’s greater achievement was as Bespoke’s prime mover. After finishing a celebrated performing career in both classical and contemporary dance she turned to coaching, direction, staging, education, mentoring and assisting choreographers in the creative process. These are no small talents …

EDC is now the beneficiary. Watch out for that 2020 season launch. Hollingsworth promises it will be a big one.

Giselle: The Australian Ballet Regional Tour

Concourse Theatre, Chatswood, Sydney, October 4

The Australian Ballet’s regional touring program has undergone a quiet change. It was created about 35 years ago as The Dancers Company but since earlier this year has gone by an even more prosaic name: The Australian Ballet Regional Tour. Why the change? Presumably so the AB’s ownership is stressed. The new name bluntly asserts that the national company isn’t just performing in the capital cities.

The Dancers Company was designed to give performance opportunities to advanced students from the Australian Ballet School. They would be seen alongside a couple of guests from the AB but focus was essentially on the students. If Giselle is any guide that focus is shifting a little.

tab_regionaltour_giselle_karen-nanasca-andrew-killian-photo-jeff-busby-1074

Karen Nanasca and Andrew Killian in Giselle with Edward Smith (at rear). Photo: Jeff Busby

Those with long memories will remember an attempt by the AB in 2002 to extend its reach and live up to its national-company status by taking a contemporary program to the regions. The triple bill – The Vertiginous Thrill of Exactitude, Other Dances and Por vos muero – didn’t catch fire with that audience and some performances had to be cancelled. Responsibility for performing ballet outside the capital cities went back to The Dancers Company. (Responsibility for Australian ballet, that is – there are several Russian companies who undertake regular, extensive regional tours, primarily with Swan Lake and Nutcracker.)

Staging of this touring Giselle, which is on entirely traditional lines, is attributed rather anonymously to “The Australian Ballet”. It’s danced to a recording that isn’t directly credited but is, I assume, the version advertised on the cast sheet as a new CD of Adolphe Adams’s score with AB music director Nicolette Fraillon at the helm of the Tasmanian Symphony Orchestra. It’s never ideal to be without a live orchestra but it’s also an economic impossibility in these circumstances and the recording is a vibrant one with some lively tempi to challenge the dancers.

At the early October performance I saw in the Sydney suburb of Chatswood, Karen Nanasca, an AB coryphée, was an enchanting Giselle with her wonderfully expressive face and eyes. Nanasca told her story with clarity and admirable simplicity. The elements weren’t surprising but they felt fresh and cohered into a convincing and touching whole, the dancer at one with the character. When Giselle’s heart broke, the ground had been prepared. Everything led up to an emotional, involving mad scene. Nanasca’s second act was less individual although again it was noticeable how she used her gaze eloquently.

Andrew Killian’s elegantly danced Albrecht was less fully fleshed. There was something of the detached, amused playboy about him so Albrecht’s repeated lunges towards Giselle’s dead body at the end of Act I appeared to come from nowhere. Nevertheless, Killian did give the evening leading-man sheen. (At some performances during this short tour Albrecht will be danced by another AB principal artist, Ty King-Wall, so the AB isn’t stinting on its stars.)

The aristocratic Bathilde, who is engaged to Albrecht, was in the very sure hands of AB soloist Dana Stephenson (she dances Giselle at some performances) and Giselle’s spurned admirer Hilarion was beautifully danced by ABS student Jackson Fisch. His Hilarion, so young and hopeful, was no match for Albrecht’s mature confidence.

AB corps member Aya Watanabe gave a neat account of the peasant pas alongside former AB member Simon Plant, whose duties were pleasingly shared with two unnamed men from The Dancers Company. (Confused yet? That’s what the ABS dancers are billed as, a kind of subset within the cast.)

Watanabe doubled up as a Lead Wili in the second act with fellow AB corps member Ella Havelka, both under the command of Isobelle Dashwood’s Myrtha, Queen of the Wilis. Dashwood joined the AB as a corps de ballet member only this year (as did Watanabe) so it’s a big role for her. She acquitted herself exceptionally well, not only technically – impressively fast, tight bourées; a majestically deep arabesque penchée – but with her poise in the face of the role’s intense demands.

Giselle is to be performed again on the Regional Tour next year, providing more chances to see up-and-coming AB dancers in roles they would be unlikely to assume in capital city performances.

A final point though. The AB is foolishly using, on its website, a quote about Giselle from The New York Times: “Phenomenal dramatic impact.” That phrase is from a 1990 review by Anna Kisselgoff of Maina Gielgud’s production when it was performed by the AB in New York. There are some details (and set elements and costumes by Peter Farmer) from Gielgud’s production used in these current performances but, as I noted above, Gielgud is not credited as the stager and some of her most telling dramatic touches are not present (nor should they be if she has not produced this version).

This current production is pleasing but it does not feature the full resources of The Australian Ballet performing Maina Gielgud’s internationally admired staging of Giselle. It is careless to imply it.

Remaining performances of Giselle: Griffith, October 12; Wagga Wagga, October 14 and 15; Newcastle, October 19 and 20.

An earlier version of this review had an incorrect caption. It is Edward Smith in the rear of the photo with Nanasca and Killian. My apologies.