NYX, Antony Hamilton Projects, Melbourne Festival, Thursday October 8th 2015

NYX, Antony Hamilton Projects, Melbourne Festival, Thursday October 8th 2015

"NYX" choreographed by Antony Hamilton had its World Premiere at the Meat Market in North Melbourne.  "NYX" is presented by Melbourne Festival in association with The Dancing Architects and by Antony Hamilton Projects.

I have been to all thirty of the Melbourne Festivals which began as the Spoleto Festival of Three Worlds and morphed into MIFA Melbourne Internal Arts Festival) and is now just the Melbourne Festival.  Historically it was great to be able to see a huge journey of dance history when Alwin Nikolais Dance Company performed in 1986.  He was famous for his combination of light and costumes with dance.  Here tonight we saw a company provide a physical manifestation of percussion and dance.

We enter the theatre and the show begins ten minutes late.  Historically NOT ONE show in thirty years has begun on time.

There is a temple like structure lit centre stage.  We have no idea of how deep the staging area will become as it is black beyond.

Four dancers stand far upstage in black: silhouetted and all with flowing long hair.  Stillness for at least thirty seconds to get our attention.  Slowly the humming begins, and the moaning.  Gentle swaying reminiscent of Brian Friel's play "Dancing at Lughnasa"  He died recently and the finale of his beautiful play with the gentle swaying still makes my heart soar.  So to be reminded of this beautiful memory within five minutes was encouraging.

Though I found we had five minute blocks of choreography or percussive movement in each of the following sections.

The next five minute sequence was messing up the temple like structure.  It was interesting to see the sliding of ceramic and stone or pebbles into different directions.  (I admire the dedication of the production crew to recreate this temple before each performance.)  The rhythms created by the sliding of items was primitive and destructive.  Where was this heading?  Were they to going to rebuild a new civilisation?  They had my attention but I found the five minute segments a little predictable.

We had about five minutes of tapping rhythms using the ceramics, sticks and pebbles.  I call this the Banking Section as they banked their stash of pebbles/stones away.  The reaching forward by the four dancers, two by two was a little like Noah's Ark and filling the urns with the pebbles or stones.  This is where I admired the dancers' skills the most, as they had to reach forward to gather the stones and drop them into the large urns creating a pulsating rhythm.  They not only had to visually calculate where their stones were but they also had to be aware of the other dancer's supply of pebbles.  This was terrific team work and concentration.

Sadly we had a mobile phone interruption with the rude woman's light on her phone.  Later this was followed by the percussive hum and vibration of two other phones.  TURN THEM OFF!  Do not turn them to silent because they are not silent.

There was another group of eight dancers who dressed with half their faces covered.  They reminded me of the "Samurai" television show from the 1960s.  They slowly entered and reminded me of a section from "Flowers" by Lindsay Kemp.

The four dancers in black used their hair as an extension of their bodies.  Their hair twirled and flowed with their movements.  It was most effect when the four were bent forward upstage in silhouette and looked like horses galloping in the distance.  This was one of the strongest images and I longed for more of these moments.

A group of eight upstage were sitting and created a thirty count round of percussive movement and rhythm.  They gradually increased their speed and eventually we had a break-a-way group creating a counter rhythm.  It was like a canon with this second group gradually taking over the rhythm of the original theme.  Eventually all finished with this new sequence.  This was my favourite part of the work and reminded me of the subtle musical transitions of Philip Glass.  Congratulations to this group of eight as my heart soared with your synchronisation and timing.  Again this was one of the strongest moments and I longed for more.  It was my favourite section.

We had the obligatory contemporary dance rolling around sequence.  This resulted in one of the few funny moments of the production.  The four dancers in black finished in various poses with their hair as the centre piece.  Some had their hair in a foot or hands etc.  They then proceeded into a laughing sequence and then changed positions for a sobbing or a crying sequence.  I enjoyed the contrast of their positions and sounds.  Again a strong image and I longed for more of these moments.

The other quick laugh was when the four in black were on their knees as if in a tantrum chanting "Naughty girl".

Another section, I will call  The Robot or Machine Parade sequence was led by a dancer in black on an upside down flower pot.  She pushed this forward and the three behind followed in various guises.  They chanted and created rhythms and various sounds. The images were like a Year 11 drama exercise, though the use of percussion with their bodies was the saving grace.

The supporting eight dancers created a congo line type sequence with their farcical entrances and exits in either a line of eight or four.  The upstage shuffling group of four was in contrast to the eight downstage, as if they had travelled on a long journey.  A simple and effective image through a thin curtain.

The rest of the production blurred with more variations of rhythms, tapping with bodies and sticks and more chanting.

The final sequence was a burial type ritual and could have been from the Aztec, Inca or the ancient Egyptian cultures. It was the placing of the objects around the body of one of the dancers. This sequence concluded with the three remaining dancers crawling away respectfully allowing their colleague to rest in peace.

Each year some reviewers have their favourite word in their reviews.  We have had various reviewers throughout the years over-use their favourite word or phrase.  Some examples include visceral, surreal or the cavernous stage.   To me the word for this production is sonorous -  for the various sound qualities produced by the dancers, and for the sound of snoring which this production could have done had it gone on any longer.

Lighting by Benjamin Cisterne was effective in this large space.  I especially liked the use of sillouette and the upward lighting of the ceiling.

Costume design by Paula Levis was most effective for the eight dancers.  The black leotards were effective for the silhouettes.  The tights on two of the four dancers were ripped by the end of the performance.  Not hardy enough for good costume design for this choreography I am afraid!

I longed for more of theses memorable moments.  "NYX" is a promising work with physical manifestation of percussion and dance.

Overall my partner gave this a 4/10 and I was a bit more generous with a 6/10.

Friday Oct 9th 2015:

PS:  I had to laugh when I read The Age article today as I knew someone would use the term "cavernous spaces of the Meat Market" and they did!

Early Works, Trisha Brown Dance Company, Meat Market, Wednesday 22nd October 2014

Early Works, Trisha Brown Dance Company, Meat Market, Wednesday 22nd October 2014

"Early Works" by Trisha Brown Dance Company was presented at the Meat Market in North Melbourne.  We went to the 9.00pm performance that started ten minutes late.

Note that it took me two emails and a phone call to clarify the running order of the "Early Works" show.  I have included below my feedback to the Melbourne Festival.  As a consequence they wrote to me and made some changes to their website in preparation for Sunday 26th October 2014 performance. 

Page 42 of the Melbourne Festival brochure advertises the "Early Works" program of Trisha Brown Dance Company and did not mention the following:

·         That there would be no seating; 

·         That you could move around the space;

·         That photography and recording was permitted; (well that is what the Stage Manager said after the show)

·         The repertoire did not include "Scallops" 1973 as advertised; (This was not listed in the program but apparently was shown)

Please clarify the following;

What was the running order of the show at 9.00pm ?

Is "Group Primary Accumulation" the same as "Group Primary Moves" as advertised in the Melbourne Festival brochure?

What was the piece other than "Spanish Dance" that included music?

Concerns:

No pre-show announcement was made about the use of mobile phones or cameras.

No pre-show announcement was made to say that you could record, photograph or film the event. (Was this correct?)

As people were filming the event I am concerned about where the photographs of video footage will end up. 

I am concerned about the privacy implications of being filmed without an express notification to say that this could occur.  Note that the Australian Ballet recently sent out an email stating that a performance of "The Nutcracker" would be filmed and if you had any questions or concerns then they offered a contact telephone number.

No seating was available for some elderly or others who may have had ailments to restrict them standing for an hour plus waiting time in the foyer.

The show started ten minutes late: that is 9.10pm

It was a very hot night and had no air conditioning.

People would walk in front and block other people's views.  Only a few people looked around to see that they were not blocking other people's views.

Note:

The following order was received via email on Friday October 24th 2014:

Sticks VI

Soft Phrase (from Foray Foret)

Leaning Duet I

Sticks I

Grubby Duet (from Astral Convertible0

Figure 8

Scallops

Group Primary Accumulation

Sticks II

Spanish Dance

Note on running order:  If this was the running order then why is "Accumulation" missing from the above order?  Apparently it has music credits "Uncle John's Band" by the Grateful Dead.)

Review:

I really do not know the order of the programme and can only comment on what I did see or experience.

Believe it or not, with my above comments, I did enjoy what I could see of the show.  I look forward to seeing the other two programs by Trisha Brown Dance Company.

I chose a spot against a pillar as it was a hot night and I have had a bad back of late and needed as much support as possible.  I chose to stay seated on the floor as I did not want to hurt my back and I wanted to get a holistic perspective of the experience.  It was interesting to watch the behaviour of the audience and the dancers when I could not always see the dance piece being performed.

I chose my position,  as I am sure that Merce Cunningham would attest that this was another perspective to seeing Trisha Brown's work. No one at the Meat Market had the same view or perspective.  Mine was probably more "alien-modern" than some of these post-modernists could cope with.

I loved the pure movement and the skill of the dancers.  It was like stepping back into the early 1970s with their white jump suits.

The opening apparently was "Sticks IV" that had the dancers laying on the ground, each holding a ten-foot-long-stick.  They were trying to join them together as they rolled over on their backs and changed position. The dancers communicated with one another.  These moves are not pedestrian nor child like.  They are sophisticated and require their utmost attention, skill and steadiness.  It is a lovely group exercise to warm up the audience.  Sadly I got a view through peoples' legs.  It was as if watching a tribe presenting a ritual through a jungle of legs.

I think the second piece was called "Soft Phrase" (from Foray Foret) where Stuart Shugg and others danced.  I loved its fluidity and was reminiscent of many Nanette Hassall classes in Merce Cunningham technique.  I could only really see Stuart and two female dancers from where I sat.  I loved their precision although the bearded gentlemen had a flexed foot while the others had a relaxed foot.

 "Leaning Duets I " comprised of pairs each holding one arm and leaning as far away as possible from one another. They were totally off balance but balanced.  They would then walk in pairs on the diagonal to the opposite corner.  This was thrilling and challenging and reminded me of a twist on a school fete's "three legged race."  The opposite couple would do the same to the other corner.  Then they would both walk and try to pass each other in the centre.  The centre change over did not ring true for me as pure movement.  There was not enough off centred-ness and trying to catch their balance.  I got the idea and enjoyed it and went along with the staged version and the changes in the rules.  It would have been good to see a real change of weight between the four as they tried to pass over each other.

I could not see two pieces (maybe three pieces) properly but I did get to see the audience gather around and block each other's views.  I watched as the off-stage dancers looked over to me curiously why I did not run with the crowd.  I was fascinated with their keeping warm and preparing for the next piece.  Watching hips swaying made sense later for the "Spanish Dances" piece.  I got the preview that the audience did not get to see.

I think the pieces that I could barely see included "Sticks 1" and "Grubby Duet" (from "Astral Convertible".)  I swore one of the pieces that I could not see had music.  If so, I have been told it must have been "Accumulation" which apparently has a track called "Uncle John's Band" by the Grateful Dead. I do not know what this piece was called but I will call it the "Square Dance" where five dancers are in the central area that is marked on the floor as a square. Maybe this is called "Scallops." They pass each other in twos and threes and communicate "corner" when one dancer reaches the corner.  They complete the sequence to end where they began.  I loved it for it was adult playfulness.

I had it clarified in writing that "Group Primary Accumulation"  "is in fact the one piece called "Group Primary with Movers"."   This is where four dancers lay on the floor and begin a sequence which they repeat.  There is a definite beginning, middle and end to this piece.  A dancer walks in and moves one dancer slightly and they all continue the sequence.  Another dancer gets moved.  One is moved to sit upright and they all continue the sequence.  One is placed on top of another slightly and again they all continue the sequence without stopping.  The one sitting up is propped to stand up and you guessed it: they continue the sequence.  It is not boring.  It is fun.  I loved the ticklishness and genuine giggles from one or two of the dancers as they were intertwined as they continued the sequence. It is like a mediation on the simple.  Not so simple as they are moved about.

"Figure 8" had the dancers form a line and created gestures like "stewardesses demonstrating safety measures on an airplane." The program states that they stand in a row.  It could be a row or a column depending on your perspective, that is why I said a line.  They continue the pattern and close their eyes.  This is done to a clicking track or metronome type clicking sound.  They complete the sequence in unison and open their eyes.  Great timing and not a revelation they would finish together.  What I loved was that it reminded me of the Pina Bausch conga-line-type sequence through the Palais Theatre audience in the early 1980s. 

The finale "Spanish Dances" to the Bob Dylan's "Early Morning Rain" is such a fun piece to finish off a fine collection of historical post-modern dance.  The dancers are in a line and gradually get engulfed to the rhythm and movement of the dancer from behind.  It is infectious and makes you want to join in.

I chose my viewing position in order to have a perspective to create a point of focus to compare each piece.  Once I realised that the ensemble would move around the space I wanted to stay and see everything from the same angle to see if it worked or not. The thing that disappointed me was the rudeness of people standing right in front and blocking your view.  Not just in front of me but in front of others.

Some people chose to meander around the space.

I did not appreciate that at least two people were taking photographs and filming sections of the show.  I found this off putting and also disrespectful of people's privacy. 

It was also lovely to see Linda Sastradiprajda perform with this company.  Linda, I believe is the first person to enter through the six years of the VCA Secondary School and complete the tertiary course also at VCA.  I remember her in what was her First Form (now Year Seven) and it is a privilege to see her as a mature and sophisticated artist.

Stuart Shrugg is also a graduate of the VCA and is a fine contemporary dancer.  I remember learning similar phrases whilst a student at VCA and he has a lovely fluid and musical quality.

Trisha Brown uses movement and gestures in her choreography.  The larger archetypal movements are not her signature.  She expresses an honesty in pure movement that many choreographers do not understand.

What can turn me off some contemporary dance is the academic exclusivity of being in the inner sanctum of knowledge.  In other words if you have not studied their technique or concepts then it can appear alien to outsiders. With Trisha Brown's works, here you can see many of the concepts at play and enjoy their nuances.  Whether people understand her work is beside the point as it is also entertaining and has our attention.

Sadly I cannot name the other dancers as there are not photographs to put names to faces.  I enjoyed every dancer's contribution and the team work involved.

As audience members we should be treated with respect and given proper announcements and introduced to the names of the works rather than us trying to guess.  We should not have to write to request this sort of information.  I stand up for all "paying" theatre goers.

If my review seems confused, I am, as the brochure notes, program notes and the email all contradict each other with names and missing information (for one example the music credits of  "Uncle John's Band" by Grateful Dead.)

I received the following in my email from the Melbourne Festival "Regarding the use of photography and filming, the nature of Trisha Brown’s works means that the company does allow audience members to take photos and video, so it was indeed permitted during the performance."  Why were we not given the respect with a suitable announcement at the start of the show as this would have changed the experience for everyone concerned?

Yes I did enjoy what I could see.  But theatre should not be this hard to know what you are seeing.

Overall this program gets a 6.5/10.  It should have gotten an 8/10 if all of my concerns had been addressed.

Labels:

 

Trisha Brown, Trisha Brown Dance Company, Melbourne Festival, Meat Market, Uncle John's Band, Grateful Dead, Stuart Shugg, Linda Sastradiprajda, VCA, Pina Bausch, Figure 8, Soft Phase, Spanish Dances, Leaning Duets, Group Primary Accumulation