Queensland University of Technology
Dance 11
Gardens Theatre
November
This year’s Queensland University of Technology (QUT) dance graduation season was radically altered, with the first and second year students performing two nights one week, and the graduating (third year) students performing separately for three nights the week following. The split season was apparently to fit around the schedule of Expressions Dance Company (EDC), which has entered into an agreement with QUT, formalising closer ties between the two organisations.
The first and second years’ performance (not reviewed), featured works of Jane Pirani and QUT resident choreographer Csaba Buday, while the graduation performance showcased the choreography of Natalie Weir and EDC dancers (under the new agreement) as well as Shaaron Boughen (former Discipline Leader of QUT Dance).
I was surprised on opening night, however, to learn that EDC was also performing, which begged the question, should it still be regarded specifically as a graduation performance, and if so do I also review EDC? Consequently, I have decided to give only a brief nod to the company.
EDC performed two works out of the four offered. In between spaces, choreographed by dancer Elise May in collaboration with Shaaron Boughen, was an exploration (still ongoing) of the process of revisioning material taken from previous works in the creation of what is a visually evocative solo. Also performed by May, she is seen fragmented, through cut-out sections of a beautifully lit backcloth performing very grounded, sculptural movement particularly of the upper body and arms.
There were no program notes for Raw, choreographed by Weir for the EDC, a work that was seen in part at the 2011 Australian Dance Awards. With the women in red tunics and the men bare chested in long black pants, the six dancers showed the disciplined control and clear articulation that distinguishes the company.
There seemed to be a thematic link between this work and Weir’s One Apart (also without notes), performed by the third year students, with a reference to the tribal in both scores, which were earthy and percussive.
Under a large, gold-coloured, hoop-like structure suspended over the stage, one side of it lowering and rising to denote the different sections of the work, the dancers in brown tunics and pants move en mass in pulsating rising and falling movements.
Pointe work is a feature in one section, including a quirky solo with the dancer wearing only one pointe shoe, as well as an eye-catching pas de deux where student Michelle Barnett displayed extreme extensions and excellent control. Although the dancers were generally strong on pointe, the weight was at times carried too far back on the heels (perhaps because of the contemporary styled movement), making the transitions from flat to pointe less than smooth.
One Apart was a remount of a work originally choreographed for QUT graduating students in 2001, and again it filled its brief beautifully in displaying the strengths of the students. Weir always has been adept at this, creatively manipulating a large body of dancers and with a great use of the space. The dancers all showed excellent unison, good coverage of the stage and, the men especially, soaring elevation.
The Eve of Feasting, choreographed by Riannon McLean (EDC) and Richard Causer is a development of a work shown earlier in 2011 as part of the QUT Essentially Dance program. In a witty, inventive choreographic construction for head, arms and torso, the dancers appear firstly from only the waist up, spread out along a long cloth covered table, which stretches across back of the stage.
A multitude of choreographic opportunities for different parts of the body are created as the dancers appear and disappear over and under the table, while notions of original sin are expressed most creatively by apples; eaten, thrown or just simply held in the mouth by the dancers as they finally emerge to dance together.
Again, this work showcased the dancers to advantage. While a gorgeous solo for Barnett showed her more at home on the flat, with beautifully articulated legs and feet, all the students gave a solid performance - well rehearsed, tight and cohesive.
Although the choreography is important in student productions, it is the hard slog of rehearsal that pulls the work together – or not. Full credit must therefore be given in this instance to Sue Leclercq, the rehearsal director for each of these two pieces.
- DENISE RICHARDSON