Campbelltown Arts Centre, Sydney.
28 March 2025.
Emma Harrison’s High Octane bursts onto the stage with the energy of a revved-up engine, a high speed interrogation of ambition, capitalism and the pursuit of success. Premiering at the Campbelltown Arts Centre, this new work cements Harrison’s status as one of Australia’s most provocative independent choreographers, expanding on themes she has explored in previous works like Milk Machines and Madonna – but this time with an even sharper, more satirical edge.
In Milk Machines, Harrison delved into the pressures and paradoxes of contemporary womanhood, while Madonna comments on the pressure of the commonly held views we have held women up to throughout history. High Octane takes these investigations a step further, shifting its gaze to the ways in which capitalism, class and material wealth shape not only our aspirations but also our physicality, again placing women at the centre of her exploration in this context. The work is unapologetically brash, saturated with early-2000s aesthetics, rhinestones and the iconography of motorsports – an apt metaphor for a world that measures success in speed, risk and spectacle.
Costume designer Eliza Cooper outfits the performers in a nostalgic ’90s dance interpretation of racing jumpsuits – the classic full length unitard with black and white checks down the sides – complete with car race helmets that serve as more than just props – they become symbols of identity, barriers to success, and, in one striking sequence, steppings stones that Frances Orlina must continuously navigate while reciting the lyrics to the Pussycat Dolls’ “When I Grow Up”. The song’s hyper consumerist dreams – fame, wealth and attention – are rendered absurd, yet eerily resonant in this context.
Humour is another key ingredient in High Octane. Harrison and her team wield comedic exaggeration to expose the absurdity of relentless ambition, using props like a personal smoked machine and a leaf blower to create over-the-top ‘all eyes on me’ moments that were quite funny. The irony is razor-sharp: the performers revel in their moment of artificial glamour even as the work critiques the shallowness of such aspirations.
The physicality of the work is thrilling. The trio execute the choreography with both comedic precision and raw intensity. One particularly powerful scene sees Emma Riches stripped of her helmet in what feels like a competitive fight – a symbolic unmasking that leaves her gasping on the floor, as if an astronaut deprived of oxygen. Meanwhile, Harrison launches into a nostalgic monologue about Supre, childhood dance costumes and childhood aspirations. The juxtaposition is both hilarious and heart-wrenching: Riches’ silent distress clashes with Harrison’s obliviousness, culminating in a crescendo of cries that morph into the sound of revving engines. This transition into an exhilarating sequence of race-like movements – bodies jerking, overtaking accelerating – demonstrates the work’s ability to translate metaphor into movement with stunning clarity. It would be good to see this section developed further; it has an amazing load of potential and power to shape this work further.
Harrison also takes a pointed jab at ballet’s obsessive pursuit of perfection, delivering a comically exaggerated solo that deconstructs the rigid elegance of classical dance. In a work that examines ambition’s toll, this moment feels especially potent, drawing attention to the ways difference disciplines – whether ballet or motorsports – demand an unwavering commitment to impossible ideals.
While High Octane thrives in its individual moments of brilliance, its transitions at times feel clunky. Some sections shift abruptly without a clear throughline. Yet, even in its rougher moments, the work’s energy never lags, driven by a pulsating score (designed by Amy Flannery) and Benjamin Brockman’s bold lighting choices that heighten the sense of spectacle and urgency.
Riches is a standout throughout, her performance impeccably timed, her facial and bodily expression capturing the comedic and poignant nuances of the piece with equal mastery. She brings a depth to the work that makes its absurdities all the more affecting.
High Octane is an exhilarating ride – one that leaves the audience energised, unsettled and questioning their own relationship with ambition and success. While its structure could benefit from some refinement, its raw energy, sharp wit and fearless performances make it a compelling new addition to Harrison’s body of work.
By Linda Badger of Dance Informa.
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