NZSD: Insight Studio Performances – 25 September 2015

September 25, 2015 at 9:33 pm | Posted in Ballet Review, Dance Review | Leave a comment
Tags: , , , , , , , , , , , , , , , , , ,

I went to this last night, and as always something for everyone; and though not as well attended as other studio performances I have been to. Which is disappointing, as it is another of Wellington’s hidden dance gems.

As usual, there was a mix of classical and contemporary works. Most were pre-release glimpses into what will be danced at the Graduation Season in November. Some students also got to trial their piece for an up coming competition they are going to in Auckland.

The performance kicked off with the dancers in the Scholars Programme (a preparatory programme for dancers who wish to get into dance schools after secondary school).

Then it was:

  • As it Fades (excerpts) – contemporary
  • Paquita (excerpts) – classical
  • Conditions of Entry (excerpts) – contemporary
  • Agon (excerpts) – classical
  • Solos: Yuri Marques da Silva; Billy Keohavong; Emma-Rose Barrowclough; Jeremie Wen-Jian Gan; and Laura Crawford
  • Without Regard – contemporary
  • Concerto 1st (excerpts) – classical

I liked Paquita and Billy Keohavong’s contemporary solo.

Paquito was very tidy and Felipe Domingos Natel’s lifts were strong, controlled, and very impressive.

Billy Keohavong’s solo, Bait, danced to Tick of the Clock by Chromatics,  got a great round of applause. Unlike some contemporary work which I find very physical (to the point of being percussive),  Bait was by parts lyrical, loose, techno (good synergy with the music), and menacing.  The latter came across through with some martial arts undertones – kept well in check to avoid a  kata. What is also very promising is that it was Billy’s own choreography.

I also recognised Felipe Domingos Natel, Yuri Marques da Silva and Jeremie Wen-Jian Gan from the Alana Haines’ earlier this year.

Whitireia Polytechnic: Year 1 Commercial Dance Variety Showcase

September 19, 2015 at 7:20 am | Posted in Dance Review, Event Review | Leave a comment
Tags: , , , , , , , , , , , , , ,

As I have said in the past Whitireia’s commercial dance faculty put on a great show. There is very little commercial dance performed in Wellington, and while Whitireia produces around 15 dancers each year, most end up dancing overseas. So the only opportunity to see ‘commercial dance’ in Wellington, on a regular basis, is to go to Whitireia’s end-of-year dance showcases.

This year the choreography seemed to have a little extra from some other years.

Numbers that stuck in my mind: Amadeus Mozart Requiem; “Get the Funk Up” Batman (there can’t be a single piece batman outfit left in Wellington!); Tequila (the audience was smiling and probably remembering personal encounters with drink :-)); Rock ‘n’ Medley; and Waiting for the Train.

The dancers all demonstrated an amazing versatility. Millie Moon, the dance captain, stood out. The dance captain seems to be a new innovation in the Whitireia dance programme – at least this is the first year that it has been publicised.

The dancers’ joy and energy made for a great performance. You should have gone.

There was a new feature this year: the Year 1 Circus students did a per-show, and a skit at the beginning of Act Two.

A Midsummer Night’s Dream (RNZB, 2015)

September 5, 2015 at 12:45 am | Posted in Ballet Review, Dance Review | Leave a comment
Tags: , , , , , , , , , , , ,

I saw Royal New Zealand Ballet’s production of this the other night at the Aotea Centre – ASB Theatre in Auckland.

This was a brand new production for the Company – choreographed by Liam Scarlett, stage design by Tracy Grant Lord, lighting by Kendall Smith, and music by Nigel Gaynor (after Mendelssohn).

Titania was danced by Lucy Green; Oberon by Shane Urton; Puck by Shaun James Kelly; Botton by Paul Matthews. Green and Urton were nicely paired, and their final pas de deux, when they are reconciled, very touching, very lyrical, with some innovative lifts. Matthews was comical; and played the part to perfection. In some ways, Matthews and Kelly had the more difficult roles, demanding more acting than in most other ballets. Matthews was assisted by a donkey head. Kelly was by parts athletic and mischievous.

I much preferred Act II over the first Act. I found Act I a bit slow, this was understandable, given that it had to set up quite a complex set of mis-understandings and mis-pairings.Puck tries hard, but it is hard to get good help! I would have like to see more of the fairies. Partly because their customs were so good; and mainly because Titania-and-Oberon are Queen-and-King of the fairies, so we should see more of the fairies.

The venue itself was a grand example of a modern theatre – the minimalist lines of wooden interior is very grand.

Blog at WordPress.com.
Entries and comments feeds.