Tags: Amelia McCarthy, Eliza Sanders, Felix Sampson, Jacob Edmonds, John Butterfield, Laura Beanland-Stephens, Mark Semple, Roymata Holmes, Susie Berry, Your Body is a Battleground
I went to John Butterfield’s Your Body is a Battleground and it was challenging. A mixture of dance and drama putting ‘the question’ to audience: though showing a series of physical encounters – couples, men, women, and singles.
This is not a pure contemporary dance work, and it is not a play (there is a dialog), but a mixture of both. Most of the performers were mainly dancers:
- Amelia McCarthy,
- Eliza Sanders,
- Felix Sampson,
- Mark Semple,
- Jacob Edmonds,
- Laura Beanland-Stephens,
- Roymata Holmes, and
- Susie Berry.
This work, works well, partly because the anti-room where the audience waited had posters, and a projection wall, creating the context for the work. This made contemporary dance very accessible.
I wish them every luck in making the Fringe Festival.
Tags: Billy, Circa Theatre, Darren Young, Dead Tragic, Emma Kinane, Jo Pheloung, Lyndee-Jane Rutherford, Michael Nicholas Williams, Music, Ruby, Vocals
Last weekend, it was Michael Nicholas Williams’s Mama Mia, this weekend it was his Dead Tragic – which I saw at Bats Theatre 20 years ago.
The original cast:
- Emma Kinane,
- Jo Pheloung,
- Lyndee-Jane Rutherford,
- Michael Nicholas Williams, and
- Darren Young.
updated some of the material, cast off the years and wow-ed the audience.
Mysteriously, the Bee Gees number was cancelled – copyright (?), after all, with a name like Dead Tragic, surely Tragedy, when the feelings gone, … would have been perfect. Still the updated choreography, included ‘selfies’ in hilarious rendition of “I did what I did for Maria” – very generation X.
It was really funny – “putting the fun back into funeral” – and very entertaining – even the Circa Theatre ushers were bopping to the music during the interval :-). The tradition version of how Billy[the] Hero [despite orders from his fiance] is challenged! Ruby, Don’t Take Your Love to Town gets an update – what does happen if Ruby’s dis-abled husband doesn’t die, but lives for 20 years; well she waxes! The Leader of the pack was actually as lady biker!
Go see this, you laugh and be transported back to a simpler music period.
Tags: ABBA, Ali, Brogan Wilkinson, Dancing, David Cox, Donna, Ellie-Jane Neal, Flora Lloyd, Frances Leota, Jody McCartney, Julie O'Brien, Lisa, Mama Mia, Mark Shepherd, New Zealand School of Dance, Rosie, Russell Dixon, St James, Tanya, Wellington Musical Theatre, Whitireia Performance Centre
I won’t go into the story of Mama Mia – because some much is available on the web about it.
It was fun; it was fantastic; much more satisfying that the movie (which was pretty entertaining). The movie had great locations and a cinematic sharpness; but, the stage show (any stage show) has actual presence – the performers are there with you and when they do a great job you get carried away in a way that is different to a movie.
So, instead of
- Amanda SiegFried, we had Ellie-Jane Neal;
- Meryl Streep: Julie O’Brien;
- Julie Walters: Jody McCartney;
- Christine Baranski: Frances Leota;
- Pierce Brosnan: Russell Dixon
- Stellan Skarsgård: Mark Shepherd; and
- Colin Firth: David Cox.
There was a nice juxtaposition of Sophie and her three two friends (Ali – Brogan Wilkinson, Lisa – Flora Lloyd) and beside Donna, Rosie, and Tanya. Jody McCartney absolutely nailed the “Take a Chance on Me” number.
The Scripted encore – with Donna, Rosie, and Tanya in 80’s lycria was fantastic: like being at a mini ABBA concert. The cast had most of the audience at the St James Theatre on their feet and dancing.
The on-stage and off-stage cast members (who are too numerous to list here) did a fantastic job.The dancing was technically good and very enthusiastic (Whitireia Performance Centre and New Zealand School of Dance are turning out great dancers); the singing was wonderful; and the invisible band did a great job.
I would tell you to go ad see this production, but I went to closing night – full marks to the cast for delivering right to the end.
Tags: Alecia Viles, Amy McCone, Ashleigh Winter, Brianna Loveday, Charlotte Mawson, Commercial Dance, Jahanna McLeary, Jemma Hall, Kristi Dahun, Lauren Marshall, Nicola Robinson, Tessa Brown, Tori Henson, Veronica Macauley, Whitireia Performance Centre, Zachary Warmouth
Last weekend I went to see the NZSD’s Graduation Season; this week I went to Whitireia Performance Centre’s Commercial Dance Graduation Show.
This year’s show was very good, the dancers improve from year-to-year, and this year the show was very cohesive. Every piece was based on a painting or set of related paintings. This gave each piece a bit of context, which made each piece more accessible. The choreography, technique, and the performance did the rest.
Seven of the dancers did an amazing cancan. Their high kicks were ear snapping. The choreography threw in high kicks, with clever little hitch kicks, some comedy, forward and backward walkovers, and the jump and drop into a side split!
The show gave the dancers an opportunity to show their group and individual talents. there was ballet, lyrical jazz, jazz, tap, hip hop and contemporary. I found the contemporary piece choreographed for Edward Munch’s The Scream quite unsettling. There was even a little bit of flamenco – Fabian Perez’s Dancer in Red. The tap piece showed off lighten fast footwork. I even found myself enjoying the hip hop. The duets were great: Zachary Warmouth being the only male dancer did much of the partnering, and lifting. Many of the dancers also had some cool gymnastics moves.
I hope the show contributes to the dancers’ audition videos, because they would have some very good footage.
Tags: Ballet, Charlie Chaplin, Classical, Concerto Barocco, Contemporary, Double Stop, Douglas Wright, George Balanchine, Graduation Season, Jeremy Beck, Neo-Classical Ballet, New Zealand School of Dance, Purcell Pieces, Rapt, Samantha Vottari, The Speech, Tynan Wood, Val Caniparoli
I went to the New Zealand School of Dance‘s 2014 Graduation Season last night.
The programme was dominated by contemporary and neo-classical pieces. The third (mini-) Act was one long neo-classic series of pieces labelled: Purcell Pieces.
The first mini-Act consisted of George Balanchine’s Concerto Barocco – all very tidy and precise, with some clever choreography to move dancers around each other; and The Speech (by Charlie Chaplin). The latter seemed more polished than when I saw it at – well done Jeremy Beck.
Another piece to catch my eye, was Val Caniparoli’s Double Stop – Samantha Vottari and Tynan Wood did a very good job.
Finally, exercpts from Douglas Wright’s Rapt was performed. This piece is – according to the programme, loosely base on the Lord’s Prayer in sign language. It begs the question: if it is not alright for dancers to speak or sing, why should they sign? Or, maybe this mix of dance and signing, will open up a new form of dance expression.
This year’s graduates look good.
Tags: Ballet, Dance, New Zealand School of Dance, Pablo Aharonian, Qi Huan, Tirion Law, Turid Revfiem, Wan Jia Jing
I went to the second of two studio performances, held by the New Zealand School of Dance, the other night, and was really glad.
The one hour, gold coin donation, performance started with the NZSD Scholars (who are 14 or younger) dancing to ballet Etudes. Which set the scene for Balanchine’s Concerto Barocco a little later. The programme was predominately a classical one, with excepts from Swan Lake, Sleeping Beauty, La Fill Mal Gardee,and Nutcracker.
I was most impressed by Wan Jia Jing dancing the Siegfried’s Variation from Act III of Swan Lake. He was powerful, controlled, precise, and looked princely.
Everyone was impressed by Tirion Law dancing the role of Princess Aurora in the Rose Adage from Act I of Sleeping Beauty. She handled Pablo Aharonian’s difficult staging with aplomb: Tirion did eight, rather than the usual four, arabesques on pointe, in two passages of four – one with each suitor. She was rock solid – most impressive. The audience was fortunate to see such a staging and such a dancer – because this is one piece that will not be in the end of year production. Hopefully, it was all captured by the camcorder, and Ms Law can use it for applications.
Generally, it appears the students have benefited for Qi Huan (formerly a soloist with the Royal New ZealNd Ballet) and Turid Revfiem (former ballet mistress with the Royal New Zealand Ballet) joining the staff at the School of Dance.
Tags: Ballet, Burlesque, Commercial Dance, Dance, Hip Hop, Jazz, Kitri, Lyrical, Tap, Whitireia Performance Centre, Year 1
Last night, I went to the Whitireia Performance Centre showcase of their Year 1 Commercial Dance students. I always like these comercial dance shows: there is a variety of dance genres, music I recognise, and everyone on stage is generally smiling and having some fun; often, the audience gets involved, and it is a great atmosphere.
There were (I think) 16 students; and they seemed a very talented bunch; including a young man who stood out, not only because he was the only male, but for his strong technique and connection with the audience. Many dancers are clearly classically trained, having come through the ballet school ‘system’ – there were some nice grande jetes, entrechartes, well controlled pirouettes, lifts, and russians. There appears to be a strong group of hip hop dancers, and they produced some interesting work – giving some of the contemporary pieces a hard edged reality (as opposed to the abstraction that so mystifies me). Some of the students can sing and they got to do some cabaret and burlesque items – bravo. Generally, the class was very flexible and showed great extension; and projected their enthusiasm well.
I liked ‘River Deep’, Kitri’s Solo from Don Quixote, which segued nicely into a tongue-in-cheek piece involving a ballet audition. I also liked ‘You’ (and edgy contemporary piece), ‘Mein Herr’ (a burlesque piece), and ‘Happy’ (a comic tap dance number).
‘Happy’ was clever: everyone was dressed in a lime-green version of ‘Wally’ (from the Where’s Wally books), and showcased the dancers’ tap abilities and their miming skills.
I would recommend it, but I went the last show. But I can recommend all of the Whitireia dance shows – for not just their precision, but their energy, and enthusiasm. It is also the only time you get to see anything with a Show Girls flavour.
Tags: Charlotte Le Bon, Cordon Bleu, Film Review, Helen Mirren, Kadam, Maison Mumbai, Manish Dayal, Marguerite, Om Puri, The Hundred Foot Journey
Warning: plot elements discussed.
The film is many things: a new immigrant story; a romance (more than one romance); food and cooking; things that divide; and things that unite.
The film starts violently, political unrest in Mumbai (India) causes the Kadam family to flee to the West. A timely brake failure sees them settle in the south of France. This violent beginning introduces a violent undertow that takes some time to dissipate – but things do settle down for the good.
Hassan Kadam (Manish Dayal) is literally a gift to cooking from the gods; trained by his mother in their famiy’s traditional methods and recipes; he is the creative force behind the family’s newly opened restaurant – the Maison Mumbai; he is also able to teach himself cordon bleu cooking from books; and so cross over to a totally different style and tradition of cooking. Marguerite (Charlotte Le Bon), who cooks in the one Michelin star restaurant across the road lends him the books. As per the title, the film is full of crossing over scenes and analogies. The various characters are forever crossing the road to each other’s restaurant, on some mission or other. At times, “two houses steeped …” seemed to be burned across the screen.
When Marguerite and Hassan meet for the first time, at the Kadam’s broken down van, one knows they are destined for each other and that they will be together: when Marguerite introduces herself to Hassan, she is side lit by the sun, and she is radiant, and he is of course breathless.
Food is important to the Kadams – especially to Hassan – the texture and the taste. They have much in common with the French – who at first don’t know what to make of them. Marguerite’s causal supper that she serves up to the Kadams, after rescuing them, is full of colour and flavour – and it is all local. The audience can tell that the Kadams have food a place they could find many affinities.
For migrants, food is a link to home, to memories of family and friends. The Kadams cling to their traditions. Only Hassan seems willing to try things French. Hassan ends up cooking in the French restaurant – his gift is shared with the world. His fusion of two cooking styles sets the gastronomic world on fire. But in the end it is a traditional Mumbai dish that reminds him of who he is and what is important.
The film is about many journeys: the Kadams physical travels, the Kadams integration into the local village; the locals’ acceptance of these new arrivals; and the journey of food, of east meeting west.
Helen Mirren and Om Puri play the heads of the two respective maisons – to a slightly predictable outcome.
A must see for foodies.
Tags: Alexandre Taillard de Worms, Film Review, Niels Arestrup, Quai d'Orsay, The French Minister, Thierry Lhermitte
Another day, another film; this time is was Quai d’Orsay. For those of you familiar with Yes Minister, The thick of it, The Hollow Men, and their American clones, I don’t really have to say much. Even in France, the same mix of bureaucratic and political behind the scenes goings-on go on.
However, Quai d’Orsay is more subtle; maybe because the Minister’s chief-of-staff is not a shouty person and he sets the tone for the Minister’s office – and the film. Claude (Niels Arestrup) is quiet and soft-spoken – not very french! The Minister, Alexandre Taillard de Worms (Thierry Lhermitte) is much more sterotypical french – shouts, demonstrative, etc; or is it because he is a politician? Claude, like all harden public servants, and good parents, is endlessly patient, and speaks slowly and calmly. Claude does all the real work; like: divert a burning ship to avoid a war, using two telephones. The Minister supplies ideas, directions and principles “responsibility, legitimacy, unity”.
The film follows Arthur (Raphaël Personnaz), the Minister’s new speech writer, over the course of a few months. Arthur is new to government and at first he just does not know how to fit in: from wearing the wrong clothes to actually believing what people say. It is all a bit of a steep learning curve, but eventually, he is wearing black shoes, coloured ties and dark suits, like everyone else – except the body guards who do wear black ties. Arthur’s first day is a shock: the Ministry building is like a palace, with its uniformed messengers (in combo morning suits), and everyone is elegantly dressed (this is France). Arthur has no office (or a diplomatic passport) – something to do with him being a contractor – he perches for awhile at the end of a secretary’s desk.
The Minister has an important speech at the UN; all against the background of the looming Second Iraq War (though a mythical country is used to avoid naming Iraq). Poor Arthur ends up re-drafting speeches over and over again, as the Minister changes his mind (or has it changed for him by senior advisors – who remind him of his commitments, the President’s commitments, and France’s commitments), or has to work in ‘helpful’ suggestions from the Minister’s intelligentsia friends.
The Minister is a powerful figure: every time he walks through the Ministry, he is preceded by a sonic boom – the result of the floor to celling doors and the energy with which he opens and closes them – that sends papers flying. The Minister has vision. The Minister is guided by a book (on philosophy). The Minister maybe an idiot, but he has his heart in the right place (procures a residency permit for the parents of one Arthur’s girlfriend’s students), and does not lack for physical courage (he confronts a mob in a former French colony).
There are subtleties (constant references to Belgium and Germany) and non-subtleties (constant refernces to America) throughout the film. Whenever a delegation travels outside of France, they are accompanied by a cryptographic technician – to encode/decode any cables – but who’s services are never required! The english translation of the title – Quai d’Orsay – may be calculated insult to France! Quai d’Orsay is a street in Paris; the whole complex is occupied by the Ministry of Foreign Affairs. So, a more appropriate translation might be “The Foreign Ministry” or “The Foreign Minister”.
The film is not laugh out loud – LOL – funny; it is funny, because the only other response is to cry: that a powerful member of the non-aligned west (France has nuclear weapons) is seemingly guided by someone like Taillard. In reality, it is guided by his sleepless chief-of-staff and Pol Pot (the cat that lives in the Ministry and is inherited by successive chief-of-staff’s). There are some amazing moments. A must see for students of government.
Tags: Clovis Cornillac, Cycling, Film Review, François Nouel, Tour de France
Clovis Cornillac plays François Nouel – a man obsessed with ‘Le Tour’. It must be many a French boy’s dream to take part in ‘Le Tour’, and François never let go of his dream. François works in a cycle store (part of an global chain of stores); his garage is a ‘bike room’. When events conspire against him and he ends up loosing his job, his wife, his son, and his sobriety, it seems the most natural thing to go for bike ride.
It just so happens that ‘Le Tour’ starts near his town and he ends up riding on the course – one day early. Despite feeling awful (hungover) he manages to finish the section. And decides that he will do ‘Le Tour’ one day ahead of the official riders: having lost everything, he can do anything.
So one ordinary man’s attempt to ride ‘Le Tour’ becomes the film and the vehicle for showing what is good and back about sport and professional sport. At first it is all about the ride – his ride. But he builds up a following – first word of mouth, then national television – and next thing you know he has sponsorship; so much so that he has obligations again! François becomes a mobile billboard – just like his heros! The professionals are a little piqued, but the big sponsors and ‘Le Tour’ are not amused at all. Even drug doping gets a look-in.
Some of the scenery is magnificent. The effort required to ride day in and day out is staggering. This requires the biggest suspension of dis-belief, can a slightly chubby, albeit cycle-fit middle age man ride every day for 20-odd days covering 3,500 km, sleeping in a tent, and relying on the help strangers (in lieu of a support team)? But who cares – films are dreams given form.
Along the way François: re-discovers himself, gets his son back, gets his wife back, and fulfills his most cherished dream.