Tree Of Codes, State Theatre, Arts Centre Melbourne, Friday October 20th 2017

"Tree Of Codes", State Theatre, Arts Centre Melbourne for the Melbourne Festival, Friday October 20th 2017

"Tree Of Codes" was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Friday October 20th 2017

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and it is more of a stream of consciousness.

"Tree Of Codes" choreographed by Wayne McGregor was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Friday October 20th 2017

In preparing the theatre, the EXIT signs were covered over as the reflections would interfere with many of the illusions.  When leaving the theatre after the show, the step lights had been covered over so as not to destroy the visual illusions of the reflections.

Sections for "Tree Of Codes" included:

The house lights dimmed and went down.

Lights illuminated from either side of the stage into the audience.

The lights dimmed on each side of the stage.

An orange spot light focused on my partner.  Friends of ours that were sitting in S Row, thought he was going up on stage as the light was so prominent on my partner.  They said it was spooky.

Darkness fell.

Dancing dots appeared on stage that reminded me of a troupe that I had seen recently on "America's Got Talent".  Maybe this troupe had been influenced by Wayne McGregor's "Tree Of Codes".  If so, this troupe showed the wonderful influence of Wayne McGregor, dance and technology via their contribution on mainstream competition on television.

Ten silver shapes on black stands were wheeled on in a blackout.  Each mirrored silver shape had a central hole.  A hand appeared through each of the central holes to show the different reflections, and to distinguish that each of the ten shapes had a different hand as they each did different movements.  Then they would trick our perspective by sometimes having the ten hands perform the same actions.  They would then alternate between individual and synchronised movements.

The lights came up slowly from a dark stage to reveal a stage-width-and-height-sized-mirror that hung upstage.  You could see the audience in this enormous mirror that was reminiscent of "Music and the Mirror" from "A Chorus Line".

The orange spot light returned and this time the images were reflected and appeared on stage in a large mirror upstage.  This orange spotlight moved throughout the theatre to show the reflection on the mirror.  You could see the reflection of the light in the mirror and where it focused on audience members.

Two dancers in nude briefs did a pas de deux in front of the mirror.

Then four dancers did a pas de quatre in front of the mirror.  We were gradually building the challenge to our perception of the perspectives of what we would see.  We questioned ourselves about what was real and what was being reflected.

Then twelve dancers danced various combinations.  Rarely were more than two dancers doing the same moves.

The back mirror shape changed.

A bank of red fluoro type lights was flown in to show the reflection in the mirror.

Another mirror wall was flown in downstage and two female dancers danced in front to show us their reflection in this new mirror.

Then a sole dancer danced in front of the downstage mirror and another dancer danced in between the two mirrors.  This showed the different types of reflections in the front mirror and the dancer in the middle had multiple reflections.

There were then variations of this theme with all of the twelve dancers in different combinations either in front of the downstage mirror or in between.  More colour was used in the t-shirts and costumes to differentiate the dancers behind the front mirror to those wearing plainer colours in the downstage area.  This was again to play with our sense of perspective to create a sense of reality and comfort, and then to distort our view.  The whole show was a human kaleidoscope that gradually built up with gradual changes pulsating and interspersed with reality checks.

This sequence finished with a dancer in the front dancing with a dancer in the middle section.  It was a pas de deux with a mirror in between.

The back mirror had a semi circular light outline.  Eventually this was moved as the mirror changed shape to allow the dancers entrances either side of the mirror.   Depending upon where you sat in the theatre, it appeared that the dancers were coming out of a potentially cracked mirror.  This was another play on our sense of perspective.

Dancers danced downstage and the back mirror was manipulated in such a way to distort our view as if the dancers were in full view downstage and their reflections appeared to either be on a raked stage or dancing in a pit as their bodies disappeared.  To challenge us even more was when one or two dancers would walk across this middle section and be fully visible while the reflections of others were disappearing below or raised up.  This was very similar to Cirque De Solei's "O" in Las Vegas where the performers appear to be walking on water, or walk into the water until they are fully submerged.  Visually it was stunning and challenging as I watched two large white-ish coloured pulley systems counter balance the rear mirrors to distort our view.  Very clever and sophisticated technology was used throughout the show.

I was so curious about the location of two banks of red lights that I could see in either side of the mirror.  I turned to see where they were located in the theatre and could not see them.  The reflections were so distinct on either side of the stage and it was magical to not be able to find their origin.  I am still in awe as to where they originated.

When debriefing with my fellow seven audience members who sat in different sections of the audience, those in the "S" row could clearly see these raked and disappearing illusions while friends sitting in closer seats in "C" row missed this illusion.   My cousin who flew from Sydney to see the show sat in "K" row and was able to see the raked stage illusion. We sat in "BB" row which in some ways was too close but in other ways was fascinating.  My partner, sitting next to me, could not see this rake or sinking illusion.  I would like to see this show again further back.

A larger mirror full of many rectangular panels and two large circular panels flew very close to the main curtain.  There were hinges to be seen and I knew something special would occur.  These two large circles began to rotate slowly within the large mirrored panelled wall.  The circles reflected images and lights into the audience and onto the back cyclorama blue wall.  These large circles then rotated in the opposite direction.

The orange spotlights returned as small lights from the back wall.  They intensified their light and shone again into the audience focusing on individuals and the reflections appeared on the mirrors.  At the finale there were two large orange reflections of audience members on the back wall.

Wayne McGregor's choreography was beautifully realised by the sublime dancers with superb technique.  I am curious about any influence or relationship from Laban notation, Benesh notation or Trisha Brown with her diagrammatic score (a numerical-spatial-cube) from "Lotus" (1975).  At times the choreography reminded me of the computer generated versions of all three.

The dancers were incredibly fit athletes with consummate artistry and technique.  Their extensions were so high and their rond de jambe en l'air were dynamic and powerful as they sliced the air.  Their attitudes derriere were exquisitely pure.  The pas de deux throughout were solid, secure and electric.

The dancing was sublime but the choreography at times felt repetitive with the style.  I sound spoiled for choice with such incredible performances but I have seen a lot of good choreography and thought there was something missing.  The pace had such a bland sameness that it highlighted the needed for some variation.  It could have been the textures and qualities were so similar rather than layering various qualities and timing.  There was a flow that seduced me but I wanted more depth of intensity of movements.

The audience was selfishly spoiled with the high standard of dance.  As such the choreography was overwhelming as there was too much action at times.  Wayne McGregor's choreography is so frenetic and unrelenting with no respite to savour sequences.  I begged for some simultaneous work or quiet times to allow for reflection.  As Stephen Sondheim, says: audiences need time to digest lyrics.  Here, the audience needed time to digest the choreographed movements. The audience was gasping for breath and needed time to breath.  When the pauses did occur they created slight trough between the constant peaks in dance.

By being spoiled with such incredible quality of dance, music and technology the audience can become a bit blase and expect this from every show.  I felt cheated at missing many of the incredible dance variations as there was too much happening.

Two female dancers, that look like twins, even with their blonde and pink hair, danced magnificently. When they danced together it challenged us again to question whether we were seeing double.

Music by Jamie XX was pulsating and engaging.

The Visual Concept by Olafur Eliasson, which included the lighting and design, was sensational and at times overwhelming that detracted from the dance.

"Tree Of Codes"  is based on the Jonathon Safran Foer book "Tree of Codes" which is based on the "Street of Crocodiles" by Bruno Schultz that was made into a short film.  Scissors hang from above in the short animated film.  I wonder if "Under Siege" designers obtained their scissor designs idea from this short movie.  Either way there are two shows that have hanging scissors imagery - one on stage and the other on film! 

"Tree Of Codes" provided a good companion piece to "More Up A Tree" with the mirrored cube that played at The Substation.  "Tree Of Codes" focused so heavily on the technology that at times drew focus away from the brilliant dancing.

In some ways I think the State Theatre, Arts Centre Melbourne was the wrong venue and needed to be at a similar venue to the Park Avenue Armory in New York.  I question the use of the State Theatre as the most appropriate venue when I looked at the Park Avenue Armory time lapse photography of the staging set up from Wayne McGregor's brilliant site.

The videos provided on Wayne McGregor's site allow the audience to savour their experience and this is what I mean about a holistic experience.  The Wayne McGregor's site allows the audience to be prepared and anticipate an event in conjunction with any advertising and marketing before attending a show.  We can then experience the show and then revisit the Wayne McGregor's site to reflect and be informed or educated.

"Tree Of Codes" was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Friday October 20th 2017

"Tree Of Codes"  obtained a 9/10.

Faster, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday March 22nd 2017

Faster, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday March 22nd 2017

"Faster", a triple bill of contemporary ballets was presented by The Australian Ballet at the State Theatre, Arts Centre Melbourne on Wednesday March 22nd 2017.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"Faster" comprises of three ballets "Faster", "Squander and Glory" and "Infra".

"Faster", choreographed by David Bintley, originally for the London 2012 Olympics.  The opening tableau shows the dancers in various athletic poses.  They rotate as if on a lazy susan and posture into their poses again.


The costumes by Bec Andrews were fun, and paid homage to some sports more so than others, due to the obvious clarity of design.

The backdrop included the black curtains scrolling into various formations - showing a lit area at the top, middle or bottom.  It was as if we were scrolling through the selection of television stations to choose our sport for the night.  There were lines marked on the stage and up the two sides of the wing tabs, giving the impression of the corridor for each athlete's lane.

"Faster" is a good introduction to sports fans to ballet, but It could be potentially a greater work with more clarity.  Sadly the choreography gets confusing, namely, the duet that appeared to have an injury and seemed to be about fighting.  Wait, my friend read the pages in the program and it explains something about it. Great ballets stand by the choreography, and you should not have to read to explain what it is about for it to work.  We should not have to decipher to interpret the body language. It should be clear.  Great ballets express the kinaesthetic emotional connection to the back of the upper circle in a theatre.

The choreography, at times, had moments of brilliance.  Sometimes sections came across as the local ballet school end of year of performance.  The choreography was passable for "So You Think You Can Dance" group numbers.

Compare David Bintley's confusing choreography to Nijinsky's "Jeux" , or to Graeme Murphy's football ballet "Beyond Twelve" or even to Robert Ray's "Poems"; you can see the clarity and definition of the sports.

David Bintley succeeds the most with the simplicity and clarity of the Walker role, danced with tongue -in-cheek conviction by Ben Davis.  It is also paying homage to the three times joke from "A Funny Thing That Happened On The Way to the Forum".

David Bintley also succeeds with the aerial section that begins with the high jumper, exquisitely danced by the ever-reliable Amber Scott.  She was supported by the magnificent super-heroes Nathan Brook and Richard House.   The two fine men are from the Corps de Ballet!  Wow - what do we have to look forward to in the future from these fine men?  These three stole the "Faster" for me.

The synchronised swimming section was, at times, anything but synchronised.  Choreographically, there was a huge opportunity of the flashy and over-the-top entrance by competitors, the robotic and Instagram-moment of their pose before they dive into the pool.  Sadly, these moments were lost as they were not choreographed into the ballet.  The dancers showcased just how good the real synchronised swimmers actually are.  Remember, synchronised swimmers dance under water and are more synchronised than these dancers were.  

The basketball section could have played with the use of the group dynamics more, rather than the four dancers performing the unison ball-bouncing, throwing or leaping sequences.  Yes they executed this reasonable well, though one dancer was clearly not hitting their poses as cleanly as the other three dancers - it looked as if they were marking or walking their moves.

The Marathon section reminded me of a poor cousin to Twyla Tharp's "In the Upper Room".  I actually did enjoy the criss-cross of different groups and the pulsating of the various formations. The costumes were appropriate and realistic for the runners.  I most admired the dancers for their aerobic ability and their commitment to this work.

This ballet obtained a 6/10 both for choreography and for execution.

"Squander and Glory"  choreographed by Tim Harbour was a real surprise package.  Tim Harbour  has developed into a fine choreographer, though the opening group sequence reminds me of something I have seen before.  I am not sure if it was the Taiwan ballet and the history of Taiwan or another ballet.  Tim Harbour used this opening sequence and then surprised me with the break away formations.  The alternate groups dance different combinations that harmonised his work in a way  that I have not seen before.  I was so excited and was keen to watch this ballet progress.  

The male costumes by Peggy Jackson were not flattering at all.  The costumes did not work for me with the leggings with the bunched up fabric and crease which is not conducive to dance.  From the B Row in the Dress Circle, the men looked as if they had varicose veins  from the knees down with the lighting, the leggings, or both.  

The setting had a large mirror, reminiscent of "A Chorus Line" as the backdrop.  A large sculpture hung from above.  We could see the conductor, Nicolette Fraillon, in the mirror at times.  

The positioning or staging of the dancers with the lighting was frustrating at times until I realised the use of the mirror was integral to the action.  The mirror was part of the choreography, and cleverly drew our focus to ensure we moved with the dancers to get the best possible view of them.  Sometimes we had to watch the dancers, other times their reflections or both simultaneously. 

The dancers were so committed to this work with their steadfast resolve to look their best.  The entire cast danced so beautifully and should make Tim Harbour proud.

I adored the final image: the twelve dancers lying on the ground in a semi circle with the two main dancers centre stage, while we could see the conductor, Nicolette Fraillon framed so clearly in the mirror. It was as if she was a part of the ballet orchestrating and overseeing their every move as if God.

This ballet obtained a 7.5/10 both for choreography and execution.

"Infra"  choreographed by Wayne McGregor  reminded me of a play "Aladeen" I had seen in about 2004 at the Melbourne Festival.  The play was about call-centres in Mumbai and then how some of the characters moved to London.  The reason why I draw the comparison is that both pieces had a heavy reliance on the use of technology as a part of the action.  The difference here was that the technology was not overpowering, the figures projected on the backdrop were a part of the action.

This ballet also reminded me, and paid homage to the pedestrian walking scenes from the brilliant Jerome Robbins' ""The Concert".   Although there were no umbrellas in "Infra", the technology was its substitute.

The dancers connected with the music and to each other to bring magic to life.  They created electricity on stage with their various combinations and formations in such a way that the entire cast looked like principal dancers.

The dancing was brilliant.  To think there were numerous principals dancing, all of the dancers stepped up to Wayne McGregor's complex and demanding choreography, and they all danced to such a high standard.  

I have to make special mention of the young male dancer in the white t-shirt.  I think it was Jake Mangakahia who took my breath away.  He owned the stage without upstaging anyone.  Whenever he danced I could not take my eyes of his performance with his pure lines, and his dynamic athleticism.

The costumes by Moritz Junge were flattering for the dancers and complemented the work.

The figures scrolling across the backdrop highlight the short concentration span of modern life.  As the people they walk across the screen, it is as if  they are swiped from a phone or tablet after a viewer gets their endorphin hit.  It highlighted to me the disposable nature of people, friends or family.  Wayne McGrego shows us about connection for people and the juxtaposition of disregard for others.

Wayne McGregor gets us to focus on the real dancers and challenges us with our short memory spans to appreciate the fragility of life.  Sadly some audience members still do not get these images or messages as they have their eyes down on their mobile devices.  My neighbour tapped the gentleman in front on the shoulder to stop him playing on his phone.  Sadly his behaviour was not conducive to the major sponsor he was representing!.

I would love to see Wayne McGregor create a ballet with technology to demonstrate how Benesh Notation works to demonstrate the complex art of notation, and to highlight the amount of memory and skill involved in precision and execution compared to what is the ideal or desired execution of a choreographer's vision.  

I look forward to one day The Australian Ballet performing a triple bill of Wayne McGregor's works. That would be magical and may "Infra" be a part of that program.

This ballet obtained an 8/10 both for choreography and execution.

The printed cast sheet had a font so small, it is was illegible by most trying to read the fine print. Many audience members were laughing at the size of the small print.  The quality of the printing of the nightly cast sheet has deteriorated.

Overall this production obtains a 7/10.