Dancehouse, Melbourne
Thursday 17th September
By Regina Green
Program A of Open Season consisted of four works by young Melbourne choreographers.
The first, Heimwah, was performed in the upstairs studio, against an original abstract landscape designed by Amanda Marburg. Choreographed and performed by Julia Robertson, Heimwah displayed some pretty tableau but lacked conviction overall. Robertson is a fluid, confident and graceful mover though it seemed she was staying firmly within her comfort zone. The calmness of the movement quickly became lulling and the lack of dynamic did little to hold my attention.
The remainder of the evening took place in the Black Box theatre downstairs. Tuning In, choreographed and performed by Gabby Rose and Caley O’Neill, began with both women standing side by side downstage left, making eye contact with the audience as we entered. My first impression was positive. The program notes were refreshingly non-cryptic and succinct.
Tuning In began with tiny and at first, barely perceptible movements – a shift of a shoulder, a tilt of the head, a twitch of a little finger. The minimal movement was interesting and jerky and, at times, almost like locking. As the movements gradually increased in size and frequency, they became slightly alien. The tiniest, most pedestrian detail when isolated or magnified became something unfamiliar. Chris Wenn’s soundscape, mixed live, translated the concept (and title) into the aural sense, with a collection of everyday background noises, including traffic, breath, bird calls and a game of tennis.
In a later section, one of the dancers threw herself wildly about in the near darkness with the only light coming from the backdrop, which was higher than floor level. The result was that we only saw part of the movement – the silhouette of a flung foot, an elbow and an arching head. Again I got the sense of seeing details in isolation. It was a nice to be able to hear breath and landings but only see snippets of movement. The simple theme was explored and presented well and the performers were engaging throughout.
Steph Hutchison in 'White'
The third piece of the evening, White, was developed through improvising on a collection of ‘images, sounds, memory and text’. The result was a series of what seemed like short sketches, ‘deliberately abstracted so that multiple interpretations/connections’ were encouraged. Highlights of the piece included a spot of light self-flagellation with long-stemmed red roses, followed by some lovely dynamic floor work amidst the petals.
White contained the most “dancing” of the program, and also, the most music. Only short snippets though, including jazz, strings, voice, chanting and whistling. Music is something I often miss at contemporary dance performances, so it was nice to hear something other than electronica and sampling for a change. Choreographer and dancer Steph Hutchison is an assured performer, with strong technique and a commanding presence.
Finally, Buckets and Other Things, performed by Tim Darbyshire, was intriguing, comical and often bizarre. The piece began with Darbyshire, upside down and with his head in a bucket, moving laboriously across the stage, looking like a Christmas turkey in red dungarees. Beautiful use of light and shadow transformed the already surreal imagery into something quite grotesque at times, which I found fascinating.
Buckets and Other Things is an exploration of cause and effect, and of the relationship between moving weight and sound production. In a later part of the work, Tim (head still in bucket, but now upright) continually swung two buckets full of small stones or marbles, while pivoting slowly on the spot. The resonating crunch of the stones succumbing to gravity was satisfying. Later they were tipped all over the floor, in the dark, before Darbyshire writhed around in them for a bit.
This was my favourite piece of the program. It scored many points for weirdness but it was also a fresh and interesting idea which was played with really well.
Open Season and sister program Open Studio are fantastic choreographic platforms. Congratulations to David Tyndall and Dancehouse for presenting these opportunities.
Top photo: Julia Robertson in Heimwah
Share this:
