27 March 2025.
Neilson Studio, Sydney Dance Company, Sydney.
Sydney Dance Company has revived Rafael Bonachela’s Somos for a second season, once again bringing this intimate and deeply personal work to the Neilson Studio Theatre in the company’s home base. Originally created in a time when the performance spaces available were scarce, Somos found its home in this smaller, immersive setting – a choice that has only enhanced its impact. The title, meaning “we are” in Spanish, reflects Bonachela’s deep connection to his homeland, a place that has shaped his artistic identity. Drawing on the music, movement, sights and even the scents of his childhood, Somos serves as a sensory and emotional tribute to Spanish culture. The company’s original creative process for the 2023 season even took them to Madrid for two weeks, infusing the work with an authenticity that resonates strongly once again in this 2025 season, now with a somewhat fresh cast.
The Neilson Studio’s intimate setup provides a viewing experience unlike the company’s usual performances on a traditional proscenium stage. Here, the work unfolds in the round, with a rectangular performance space surrounded by just two rows of seating on all four sides. This unconventional staging choice reflects the deeply personal nature of the solos, duos and trios that explore Spanish cultural expression. The performance begins with sheer red fabric draped around the space, an evocative design element by Kelsey Lee that both conceals and reveals, layering the movement with shifting perspectives. No matter where one sits, the choreography ensures an inclusive experience, as if each vantage point were the “front” of the stage. The rectangular stage itself plays with depth and perspective, particularly in the ensemble moments that move along its edges. Lee’s design, coupled with Damien Cooper’s lighting, create a dynamic interplay between visibility and obscurity, allowing dancers to emerge, recede and interact in ways that bring Bonachela’s vision to life. Costumes, also designed by Lee, feature an eclectic mix of texture – mesh, lace, stocking and plain black stretch – juxtaposing tight and flowing silhouettes to create striking individual looks for each dancer.
The work opens with the full company onstage, engaging in a physical dialogue of assertion and challenge – an exploration of machismo, of measuring up, of staking one’s place in the world. From this charged beginning, Somos transitions fluidly between solos, duo, trios and small group sections. While the intent behind these moments is compelling, the execution varies widely. The company’s desire to connect is evident, yet there is a stark contrast between the seasoned dancers and the new members, some of whom struggle to bring depth and refinement to their performances. The loss of several standout cast members from the original season is keenly felt, and their replacement – many seeming fresh out of training – lack the technical precision and stage presence to sustain the work’s emotional weight. The disparity is at times jarring, with some dancers commanding the space effortlessly while others appear distracted, disconnected and simply unable to meet the demands a work of this nature requires.
Bonachela weaves together themes drawn from his own upbringing, with each section representing a different facet of Spanish life – boyhood to manhood, the matador and the bull, friendship, marriage and more. The immersive setting makes these moments feel almost tangible, inviting the audience to step into the world he has crafted. A particularly riveting section features Naiara de Matos and Piran Scott, a married couple both off and on the stage, whose duet brims with passion and intensity. Their connection is palpable, embodying the fiery, deeply rooted relational dynamics that characterize marriage in a culture steeped in tradition and emotion.
By contrast, the pairing of Sophie Jones and Liam Green is more uneven. Jones is a rising star, continuing to grow as a performer, each appearance with Sydney Dance Company revealing new layers of confidence and artistry. In Somos, she is breathtaking – fully engaged, fully present, owning the space in every movement.
Music, edited by Nick Wales, features contributions from a variety of artists handpicked by Bonachela to create a contemporary reimagining of traditional Spanish sounds. This collaboration results in a rich, textured auditory landscape that enhances the work’s immersive qualities.
While much of Somos unfolds in vignettes, one of the most powerful moments comes in the final duet, Ne Me Quitte Pas, performed by Ryan Pearson and Luke Hayward. This closing section appears to embody the journey from boyhood to manhood, a rough-and-tumble struggle that is both physical and deeply psychological. The choreography is clever, raw and unrelenting, a visceral tug-of-war between youthful resilience and the inevitability of transformation. Pearson and Hayward deliver a performance that is gripping in its intensity, their bodies locked in a battle that feels both external and internal. It is a striking last statement, a bold punctuation mark that ensures the work lingers long after the final moment.
Somos is an extraordinary experience – one that feels tangible, as if the audience is breathing in the very essence of Spain itself. The opportunity to witness such an intimate, visceral work performed at this level is rare, and Bonachela’s love for his homeland shines through in every moment. For those seeking a night of exquisite dance and deep cultural immersion, Somos is not to be missed. And for those wanting to extend the experience, a post-show drink at Bar Boca, with its Spanish-inspire ambiance is the perfect way to reflect on this captivating work. With limited seating available, this season is sure to sell out – secure your spot before it’s too late.
By Linda Badger of Dance Informa.
Share this:
