Frame of Mind, Sydney Dance Company, Sumner Theatre, Thursday May 14th 2015
It was such a pleasure to see Sydney Dance Company perform in Melbourne again. the Sumner Theatre is such a beautiful theatre for dance - that it reminds me of the Joyce Theatre in New York City that is dedicated to dance.The programme consisted of two pieces, "Quintette" by William Forsyth followed by "Frame of Mind" by Rafael Bonachela.
"Quintette" by William Forsyth is such a magnificent piece of choreography that screams of passion tenderness and love. The score is a loop of singing with orchestration that is haunting and deeply moving. The words sung sound more like "Jesus never found me" compared to "Jesus' blood never failed me yet." Either way the message was so rich in depth of compassion and reaching out.
The five dancers began in various poses across the stage. A phrase set the tone and was repeated throughout the 26 minutes and was featured either by a different soloist, duets, trios or a quartet; but never by the quintet. It was if they were dancing to try to reach nirvana.
The combinations of lifts within the various formations were complex and appropriate. The trust between the dancers required rigorous timing, skill and support. Not only the physical support but the emotional support, as relationships require a good network to grow. Yes, strength is also required but to appear effortless was mesmerising. The lifts did not look like tricks and show-biz bravado, rather they fluidly swept the viewer with waves of memories and love.
The score could have been monotonous but was so hypnotic that it reminded me of Pina Bausch's "1980" performed at the Palais Theatre in St Kilda. It too could have been repetitious and boring but instead captured the essence of memory and emotion.
At times I felt like a voyeur and was trespassing on hollowed territory. This heightened my intense connection to the emotion of the piece. It was as if I was watching angels protecting each other.
The tones of the costumes were muted. When the red and blue danced together it suggested a summery buoyancy, while the yellow and green duet had an autumnal feel. The black costume accentuated the statuesque Sam Young-Wright as if he was the arc angel.
These five masterful dancers performed so beautifully with their pure technique and artistry. They danced some technically difficult phrases and lifts connecting the depth of emotion to the choreography.
The final image was repeated where Chloe Leong threw herself and was caught upstage right by a male dancer. It was as if she was swept up in the arms of an angel and transported to heaven. Pure emotional magic. The quintet of dancers certainly took us to nirvana.
"Quintette" is a magnificent work of poignancy and deeply moving.
Thankfully we had an interval to savour the opening work.
"Frame of Mind" by Rafael Bonachela comprised of two walls creating a corner with a vertical window frame and window sill. This set by Ralph Myers reminded me of the classic Scottish ballet "La Sylphide." I kept expecting someone or something to come through the window. This was not to be, other than the different perspectives of dance to be offered.
My interpretation of "Frame of Mind" is the different perspectives we have of a situation. We may be in the same place at the same time and see things from a different viewpoint. There is no way we can 100% see something from someone else's perspective. This is where the design of the corner is so crucial as we may not be able to see around corners.
Nor did the light through the window shine on either wall. This was evident when the file of dancers kept close to the back wall. It was if they were creeping in to avoid the light exposing their entrance. These dancers then hit a character pose that reminded me of "A Chorus Line"" and the 17 signature poses/personalities.
Three sections had all but one of the cast dancing in synchronicity. I must say these ensemble sections were danced so together in their measured sameness it was breathtaking. You may think I am going overboard but it is easier in classical ballet to hit "positions" or "steps" as some call them. In contemporary or modern ballet/dance the vocabulary is not as pure as classical ballet. I think it is so much harder to be in sync in this style of dance with such complex textures, qualities and intensities.
I am also in awe as to the different body sizes that had to match the choreography. The taller men for example were in keeping with the petite female dancers. The extra space for these taller dancers to move their limbs to navigate during these synchronised sections was beautiful. The breadth of the wider port de bras for the taller dancer was matched with such precise qualities as all of the other dancers. The sautes and turns and off balance moves matched each other. No dancer upstaged another with their showmanship. They danced as a unit. I repeat - I am in awe as an ensemble as I have seen dance companies for nearly fifty years and adored your ensemble work.
So my heartiest congratulations to the dancers for such magnificent realisation of Rafael Bonachela's vision.
A solo by David Mack reminded me of the famous Nijinsky "A l'apres-midi d'un faune." It reminded me of Feldenkrais style body outlining exercise combined with an erotic body discovery exercise from a couples workshop. His body twitching and writhing was sexually provocative.
There were repeated phrases throughout this 34 minute work and was not boring to watch. This duration was the perfect time. Structurally this work felt resolved with the finale male solo.
The final male solo was blinded by the light through the window. At the end he seeks the light. It is as if we recognise what we do not originally see. We see things through a different light! (Boom boom!)
The very informative programme was available free of charge. This was one of the better programmes available at the theatre. I would have liked a paragraph or two for each dancer's biographies. At least include a reference link to refer readers to the dancers' biographies. I went online later to the SDC website and read the comprehensive biographies. As Sydney Dance Company is government subsidised they have a financial responsibility to sell these programmes for at least $5 or $10.
"Frame of Mind" by Rafael Bonachela completed the programme. As Anne Wooliams told us an 90 minute programme of quality is better, as audiences cannot cope with more than two hours of dance. And these two works are proof of her quote. This was a brilliant dance programme.
