The Qualms - Steppenwolf Wednesday 23 July 2014

The Qualms - Steppenwolf, Chicago, IL. 23 July 2014

 23 July 2014

Tonight we were fortunate to see a performance by this iconic theatre company - Steppenwolf Theatre Company in their beautiful home base in Chicago.

"The Qualms" is by Steppenwolf Ensemble Member, Bruce Norris and is a three act play in one uninterrupted sequence.  No interval disturbs the three very clear acts within this dramatic comedy brilliantly directed by Pam MacKinnon.  She allows these actors to bring to life some moral dilemnas  about relationships, sexuality and respect.

This play touches on many topics related to monogamy and polygamy.  There are branches related to porn, homosexuality, and prostitution.  They provide stimuli for us to ponder.  The thought provoking questions are more relevant than the answers.

The Melbourne Theatre Company should be chaffing at the bit for this play as it suits their data base and will encourage newcomers due to its voyeuristic nature.  I do not want to give too much away as the sex is central to this story, but it is more about the politics of sex.  I can see much "tut tutting" by some of the MTC audiences.  But secretly I can also see their fantasies fulfilled.

The play is about a "Swinger" party.  The rules were read out etc and it was obvious that this is a regular event for many attendees.  But not tonight!  The drama unfolds.

These are adults playing supposedly adult themed games.  These are adults with their big toys and exotic games.  How is it any different to children role playing doctors and nurses etc? A loss of innocence or the knowledge that the games are no longer innocent?  Many questions are posed and not resolved.  This does not bother me, as it allows us to question ourselves and what is repsect for self and others.

This play is well written for the drama and especially the comedy which is needed to make the dramatic relationships more potent.  From the opening when the house lights rose to reveal two couples separated as is the new couple are caged inside by the regular "Swingers" - the hosts for the evening's "Play Time" party.

What  I especially loved about this opening five seconds was that the drama was evident in the opening pose.  There was so much history and atmosphere created by these skilled actors to welcome us into their "sordid" journey for the evening.

We are the voyeurs!  Our fantasies can now be tickled.  It was interesting to see the audience's reaction to the play.  Some of the audience members would mimic the actions of the actors by "protecting" their partner by surrounding them with their arms. It was interesting to hear and see the audience's reaction as some of the jokes and drama were very revealing.  Steppenwolf also provided a wall for feedback and post-it-notes comments.  This created a great opportunity for audience members to provide their insights into the play's messages and themes.

I was shocked at the lack of swearing and the restraint of the use of the "F" word.  Its absence made it more effective, relevant and enticing. The lack of discussion about detailed sexual acts also made it more voyeuristic.  This really spurred our curiosity.

The section about the Democrats and Republicans is a two sided reflection.  I think some people think it is very "Democrat" behaviour, and the more liberal and free thinking are more willing to be "swingers".  I loved how some characters moved away from the Republican lepers.  Yes they showed us an example of a democracy at work, but even more so I liked  this moment as it really showed about the lack of respect for both sides of politics and also sexual politics.

The statistics section and the look into the audience was where the fourth wall was really broken and was a moment for seduction by the cast.  It was a great reality check for people to be given a shake up about their either bigoted or free spirited natures. This section reminded me of "Bison" where the actors were looking at the audience seductively as if in a gay beat and creating a personal bond with the audience.

What I loved was watching the actors listen.  Really listen to each other.  They did real actions.  They were these characters and their objectives were clear about what they wanted to do in their action sequences.  Stillness was an action that had so much movement.  For example the realisation of a rejection was palpable.  The twists and turns by Regine played by Karen Aldridge created another level of drama that showed a real tenderness and heart.  As did the journey of Deb (a Ruben-esque lady) played with sincerity by Kirsten Fitzgerald.

Gary the host played by Keith Kupferer in a care free manner.  This was his house and his domain that he was happy to share.  His partner Teri played by Kate Arrington had a hippy quality that reminded me should could be straight out of  "Hair".  I loved how she kept the drug induced effects in her performance.  I did feel this was one aspect that the other actors may have used as well as by Teri towards the end of the play.

Diane Davis played Kristy, the wife of Chris played by Greg Stuhr.  This couple have their issues and these fine actors showed us their history from the first five seconds sitting uncomfortably centred on the couch.  Their relationship is central to the story.  The revelations about their attitudes creates tension and allows more drama and comedic opportunities.

Their journey is a drama within this dramatic comedy or comedic drama.  I call it a modern tragi-comedy. The tragedy is people not realising their potential in life.  This play is more than about the threesomes, foursomes, partner swapping scenarios.  Verbatim or oral sexium!

The questions of relationships, morals, choices, values and lifestyles is paramount to this play.  But the essence to me is about our own life and taking control of what makes us happy.  We cannot project our happiness on others.  Control is central to this play and the control shifts between different characters at various points.  This control can be within the individual couples or within the core eight characters.

The tall, handsome athletic black man, Ken was played with sensitivity and strength by Paul Oakley Stovall.  Do watch the kitchen scene closely.  Some MTC audience members will require an explanation.  I can hear the titters now!

Roger played by David Pasquesi was your equivalent to a classic Aussie stirrer.  He at times was a black cloud with his confident and laid back confrontations.  He obviously knows how to wind some people up.  His character was articulate and self assured.

Owasis Ahmed played the Delivery Boy.  I thought he was going to be a pizza boy (as he is credited as  the deliver boy in the programme).   His very short scene is terrific in creating a "Michael Chekhov" atmosphere of disquiet.

Speaking of atmospheres the scenic design by Todd Rosenthal was exquisite.  It reminded me of "Hotel Sorrento" at the Playbox Theatre at the Malthouse.  The costumes by Janice Pytel were chosen to accentuate each duality of each character. The actors themselves created the atmosphere by their behaviours, objectives and trust between each other. The way they used their emotional levels also counterpointed their inter-relationships and thus enhanced the atmospheres.

The cleaning up sequence was in silence.  This had so much tension and the characters histories, journeys and dynamics shown in this sequence.  You could empathise with each character's journey.  We have all had an embarrassing moment or a tantrum in our lives.  Or some moment that we wished we could forget or undo.  This lengthy sequence had so much drama in the silence and allowed us time to reflect.

Reliving moments is what Chris' character does so well.  Egg on his face not once but many times.  Trying to correct his errors creates more layers to his character.  This shows his brilliance as an actor to reach inside to each layer of discomfort. We cringe in mutual recognition.

Sound by Rick Sims was near perfection as the background music did not overpower the dialogue.  My only beef is the entrance of the delivery boy should have had two sound effects.  Maybe I missed it but I cannot remember him being buzzed in.

The inappropriate comments by the Palmer Party Senator, Jaquie Lambie requesting  a man "being well hung" is so relevant to this play.  This is the sort of debate that this play encourages.  That is another timely reason why MTC should snap this play up.

It would be interesting for the actors to see what is their Belbin Team player profile.

What do people go to prostitutes for?  Sex? Counselling?  Companionship? Other?  Why do people attend swingers parties?  Why do we live our lives as we do?  Challenging and confronting our attitudes.

I think there could quite easily be a sequel to this play that develops the rich areas that may be taboo to some.  This play has the potential to develop into a tv series that could explore many themes of sexuality.  For example, masturbation, monosexuality, diseases, postions, rape (both male and female rape), S&M, and bondage and deprivation. This could be developed with the questions of when and how to teach sex education.

This play explores so well the various levels of fear: anticipation, excitement, trepidation, wariness and dread.  This relates  to our fear to fully realise our potential as human beings.  The play may be appear to be about sex but it has more serious questions for us to consider about respect for self and others.

Highly recommended play with fine acting, direction and creatives.  A true ensemble play.

The King and I July 3 2014

The King and I

Princess Theatre Thursday July 3 2014.

The King and I is the classic Rodgers andHammerstein musical presented jointly by Opera Australia and John Frost.  This Tony Awardwinning production is revived at the Princess Theatre is a feast for your eyes.

Lisa McCune stars as Anna Leonowens.  She shines, sparkles, and exhilarates in her  interpretation of this famous role.   This is her show.  After her masterful performances in "The Sound of Music", "Cabaret", "A Little Night Music" and others, it is great to see her in another Rodgers and Hammerstein role.  It is as if they were written for her.

Lisa's singing is the most confident and pure in the whole evening.  It is consistently musical and in tune.   He singing shows up the jarring and flat tones of some of the other singers.  Her accent is very "Received Pronunciation" and does not falter in consistency.  She is a selfless performer who is focused on creating the relationships and connections with her co-stars.  Her presence enhances the atmosphere of Siam and her memories of her previous life abroad are held within her heart.

We are welcomed to the theatre with the incense of Buddhist monks sitting on the stage.

I  was waiting for the "Please turn off mobile phones message" and was disappointed this did not occur.  I suggest that this is done at their peril.  I had to tell two people to turn off their phones during Act Two.  I did pass on my feedback to a very pleasant usher who directed me to her supervisor who then in turn referred me to the Princess Theatre's Front of House Manager.  She was very obliging and concerned that her staff could not see these phones being turned on.  She is vigilant in her job as I have seen (from afar) her dedication to the theatre and respect for excellent customer service.

The overture lead by Peter Casey was superbly realised.  The opening sequence is superbly staged on a narrow walkway.  I loved the entrance of Anna wearing a crinoline and navigating this narrow walkway.

The staging, costumes and set designs are superb.  Directed by Christopher Renshaw with Musical Staging by Callum Mansfield creates a story that held my attention, even though I had seen the film many times.  The main truck that carried the King's throne made a visual impact rolling forward to command our attention.

The costumes by Roger Kirk are exquisitely ornate and pay homage to the Siam kingdom and the British Empire. The crinolines scene with the Siamese women not wearing underwear pays homage to Queen Victoria and her crotch-less knickers to "spend a penny." (Refer to the article in The Age pages 2-3, July 12th 2014 about the "Undressed" exhibition in Bendigo).  So more credit is due to Rogers and Hammerstein for this historically accurate joke.

The sets by Brian Thomson are clever in design and create an opulent frame to focus our attention without over shadowing the characters or the story.  We can still marvel at majestic settings and revel in the atmospheres they help to create.

The staging, which allows for the multiple casts of children, is effective and honours my memory of the film.  I particularly enjoyed The Small House of Uncle Thomas sequence that punctuates the story and mood.  The staging and dancing paid honourable homage to the original choreography by Jerome Robbins.

I enjoyed John Adams who played the dual roles Sir Edward Ramsay and Captain Orton.  He differentiated between the characters and made me giggle at the right times.

Adraina Li Dooni as Lun Tha sang pleasantly and confidently, and did not seem fazed at some off notes by his female companion.  He was there to support generously and not be thrown.

Some of the children lost focus during the performance.  While others held the character throughout.

Lousie Leonowens was terrific and held his characterisation. He sang with the right amount of trepidation with his mother.  It was great to see his development in his very short scenes. Apologies that I cannot acknowledge your name as the children's cast list was not posted in the foyer.

The young Prince Chulalongkorn lost focus and was watching the audience while Anna and the King were in their final scene.  This young man should maintain his characterisation and seemed to be "acting by numbers".

Overall I would recommend this show to see Lisa. LisaMcCune. For who? FOR LISA MCCUNE!!!

I also posted this on to the Ticketmaster site:

Lisa McCune excels in this iconic role with her pure singing and her interpretation of Anna.  Sadly Jason Scott Lee had been injured and we saw the understudy who was very capable but too young for the role and needs to hold his stances with more commanding stillness and authority.  Some of the singing by the two main female supports was piercing, shrieking, and off key. The sets and costumes are sumptuous and no wonder this production won Tony Awards back in the early 1990s.  Sadly there was no announcement to remind patrons to turn off mobile phones not to use recording devices.  This could have been achieved by the king's authority.  Sadly two rude people decided to turn on their mobile phones and proceed to distract others.  Please put up visual signs that emphasise that phones etc cannot be used in the theatre UPON ENTRY!

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Imperial Suite and Suite En Blanc June 25 2014.

Imperial Suite and Suite En Blanc

State Theatre, Victorian Arts Centre, Melbourne,  Wednesday June 25 2014.

This classical double bill by The Australian Ballet of "ImperialSuite" and "Suite En Blanc" was superb.  Both are not my favourite ballets, though I must give credit where it is due.  They were superbly danced, to the extent I say the best I have seen them performed by this company.

"Imperial Suite" choreographed by George Balanchine is a classical ballet in shades of blue.  A rich blue that is so regal it is nearly purple at times.  To think that this ballet originated in 1941 is a testament to Balanchine's training, heritage and musicality.

The solo piano played by Duncan Salton was beautiful to listen to.  The dancers must be in heaven to dance to such beauty.

This ballet showcases technique, musicality and artistry.  All I can say is that the dancing was exquisite and the precision of the footwork was impeccable.  The turned out heel and the elegant and square shoulders, the extended lines, the pas de deux, the musicality, the coherence.  Pure bliss.

"Suite En Blanc" choreographed by Serge Lifar  is a white ballet with the very commanding opening tableau.

I cannot single out anyone for not contributing.  It was pure team work.

The Pas de Cinq was danced with assurance and a slight edgy feel, as one dancer was replaced from the cast list.  This gave the performance a slight tension which added to their concentration and efforts.  They danced with a dedication to their team.

The Pas de trois with Madeleine Eastoe, Kevin Jackson and Andrew Killian was sublime.  They moved as one.  Kevin Jackson returning from a short stint with the American Ballet Theatre seemed to have a new level of maturity and confidence.  He seemed effortless and so robust in his body.  Both he and Andrew Killian were so methodical and assured in their support of the sublime Madeleine Eastoe.

The Serenade, dance by Reiko Hombo was exquisite in her musicality, artistry and dancing.  If she is not promoted to principal in the next 12 months it is only because the other Senior Artists are also so deserving.  I cannot remember such a strong Senior Artist team for years.  I had tears well up in my eyes with her magnificent technique and interpretation.

Laura Tong is such a fine dancer and her interpretation of Variation de la Cigarette was precise and powerful.  It was such a shame that in her final pose her foot slipped and stole from her a faultless performance.  In true professional style she covered this and took our attention away from this "inconvenient " irritation. To maintain one's composure, technique and musicality takes skill. She was so self assured, as if she stamped out a cigarette and made her finish so individual and relevant to this ending.

The Mazurka, danced by Chengwu Guo was breath-takingly brilliant. Powerful, majestic and electrifying.  This was sheer bravura and masculinity at its best. Cheers of appreciation resounded at the conclusion of this masterful technician's solo.  He reminds me of the powerful and young Danilo Radojevic.  I would love to see this young man perform the "Billy the Kid" solo choreographed by Michael Kidd and coached by Danilo.

Amber Scott was so beautiful in her Variation de la Flute.  She is so feminine, and is so solid in her technique that originates not only in her core but also her heart.  Her port de bras is so fluid, lyrical and weightless, as if she is about to take flight.

The double tours en l'air by the men were phenomenal.  Their finish into a clean fifth position was something I have rarely seen consistently by a group of men over an entire night.

Congratulations to The Australian Ballet on such fine work and artistry.

 

Bodytorque - DNA June 18 2014

Bodytorque - DNA June 18 2014

State Theatre, Victorian Arts Centre, Melbourne.

This is the first time that the Australian Ballet has presented their Bodytorque season in Melbourne. The theme this year was DNA and five works were presented with varying degrees of success.

"CORPUS CALLOSUM" choreographed by Richard Cilli with music by James Wade and costumes by Monica Morales was easily the highlight of the evening.

This piece had the best flow and segues between movements.  Visually it made sense like an animated science explanation of DNA.  The groupings and relationships created a variety of shapes and images.  At times it was like we were looking under a microscope with the ripple effect of moves.

This work seemed to be the most polished of the evening with their precision and finish to the choreography. It did not appear to be just a series of impressive groupings or tricks but instead showed us a depth of choreographic understanding to keep the audience intrigued.

"I CANNOT KNOW" with  choreography and costume design by Joshua Consandine  and music by  George Lentz showcased an Alice In Wonderland style adventure.  Starting in silence before the main curtain our "Alice" type character reveals a galaxy of moving images.  They could be stars, moons or comets.  It was like a variation of the above animated science explanation of DNA, each moving in their own unique manner.

The dancers wore beautiful black and sparkling unitards which glistened against the blue lit back curtain.  These costumes made an instant impact that wanted you to watch these bodies move.

The choreography varied at times and really showcased the dancer's strengths.  This was evident in Chengwu Guo's brilliantly executed and explosive jetes and sautes.   Yes it made you sit up and take notice that he created dynamic shifts in attention but to the detriment that his impressive solos were jarring and incongruent to the rest of the choreography. 

I loved the partner work and worry there is not always a natural flow to create the final beautiful image of various challenging lifts.  Some of the lifts or images are created at the expense of the choreography.  What I really admire is the ability of Joshua Consandine to create such innovative lifts and images.

"SAME VEIN" choreography and costume design by Alice Topp with music by Sergei Rachmaninov began with a soloist toying with a pair of antlers and creating various images.

The media artist Brendan Harwood provided a swirling kaleidoscope of images.  This to me was where the real dancing occurred and distracted from the physical dancers.  I thought there was too much reliance on the multi media as at times it was hard to see the dancers against the rear backdrop and due to the lighting design.

The "fluffy" costumes were impracticable as "fluff "was falling off and could be dangerous if a dancer slipped on them.  These costumes were designed for impact and not for the rigours of dance wear.

The stillness moments or freezes were shaky and needed more composure.  This was the work that I thought needed more refinement to the choreography - when I  could see it against the competing multi-media backdrop.

Act Two began with "CONTROL" choreographed by Richard House and music by Gabriel Faure and costumes by Kat Chan.  This was supported by Graham Silver's lighting design of green spotlights and white fluorescent lights that created a pulse and a dance of images.

This work showed us variations of what is to be in control and when out of control.  It was like a visualisation of Martin Seligman's master work "What You Can Change and What You Can't."  I loved how one partner controlled the other in off-balance positions.  It showed the reliance on each of the dancers.  This was evident in the over-extended pointe-work and the exaggerated shifts in their centre of balance.

The men wore black shorts while the women wore black leotards with various designs. The most impressive costume was Ingrid Gow's costume that had a horizontal cream stripe across her upper chest and a stripe down the  side of her body. The choreography seemed to be made to highlight this costume superbly.  The most impressive image was when her stripes were highlighted in a seamless extension of her arabesque penche en-pointe.  They showed to great dramatic effect - either the strip on her chest or along her side depending on whether she was in epaulment or not.  The lines were perfect and the image is imbedded in my mind.  Even though the other women's costumes looked great, it was a shame that they did not create such a holistic image in concert with the choreography. 

I thought this piece was so well rehearsed and danced beautifully with poise, grace and respect for their partner.

"EXTRO" choreography and costume design by Timothy Harbour was danced to harpsichord music by Henrik Mikolaj Gorecki.   This work was like a ballet class with enchaiments joined together with some linking phrases. 

At times, due to some of the groupings, this reminded me of a ballet class version of the "Jets" and "Sharks" from "West Side Story."  Also with the repeated and explosive developpe with arms through fourth  reminded me of the opening sequence of the above movie.   This overused phrase had wrists flapping inconsistently with both the men and the women.

This piece was like a historical musical visualisation by Ruth St Dennis.  The men seemed to be like Ted Shawn with their crawling positions.  The men seemed to be the introverts when they were in the crouching and crawling positions similar to Hofesh Shechtor's "Political Mother."

The harpsichord music and the groupings reminded me both the music of Phillip Glass' and the frantic pace of Twyla Tharps' "In The Upper Room."

The finale image was powerful with the support of the focused triangular shaped lighting was like an advertisement for "So You Think You Can Dance Australia."

 I enjoyed this work though felt it could do with some refining and polish of some arm positions and purity of group line formations.

Overall, three out of five good works and two that need a bit of work. 

Let us hope that Bodytorque is a regular event that is shown in more cities annually.  This will give an opportunity for these new works to be seen by more audiences and give the dancers an opportunity to showcase new choreographers.  I think that Bodytorque should be a part of the Australian Ballet's season and would be the perfect vehicle for a second arm to their touring arm.

 

 

Wicked Review June 5 2014

Wicked Review June 5 2014

We saw "Wicked" at the Regent Theatre on Thursday June 5 2014 and loved it. Jemma Rix is sensational as Elphaba and Lucy Durack is superb as the ditzy blonde Galinda/Glinda. I thought it was better than when I originally saw it in 2008.

It was also good to hear a few cast members who were flat in other musicals in the last twelve months, were in tune last night. You have to give them credit with eight shows a week they looked fresh.

Maggie Kirkpatrick as Madame Morrible is pointed and authorative.

Edward Grey plays an admirable Boq without any of the Australian Idol fanfare.  This is in total contrast to his very camp hairdresser from "Legally Blonde."

Reg Livermore played the Wizard with agility of body and with a more aged voice.

Emily Cascarino played Nessarone with a lovely pure voice that brought out her coldness.

Steve Danielsen played Flyero with aplomb but I wanted more stillness in his confidence.  Though the duet "As Long As Your Mine" with Jemma Rix was sublime.

Nathan Carter as Doctor Dillamond was played with the right amount of caper and lovely control of his bleating.

Matt Holly played Chistery with agility and assurance of character. This may appear a thankless role but he played Gregory Maguire's intent magnificently.

The ensemble singing and dancing was confident and assured. 

If you have not read the book then I do recommend reading anything by Gregory Maguire. He is such a wordsmith and I am in awe at his skill. How the creators condensed his book into such a fine musical is beyond me. Congratulations on a good show.

Chroma Australian Ballet June 11 2014

Chroma Australian Ballet June 11 2014

I saw The Australian Ballet perform "Chroma" and must say it is one of the best contemporary mixed bills I have ever seen.  They danced the very difficult "Chroma" by Wayne McGregor with great skill and artistry.  The undulating ripples of the upper body puts a lot on the dancer's core.  Still in awe of their terrific agility and technique. 

Stephen Baynes' new work "Art To Sky" I felt paid homage to John Cranko because of his group formations and pas de deux.  The lighting plot was sensitive and highlighted his choreography without dominating.

Jiri Kylians' works never seem to fail and it was great to see "Petit Morte" and "Sechs Tanze" again.  The control and skill of the men with their swords was near perfection as they had to swing, roll and flip and  these inanimate partners. The "hide and seek" reveal of the black curtain exposed a few dancers and lost some of the magic when you know that it can be done seamlessly to appear like a magic trick.  The second time was better when the girls and the swords disappeared.  Not a quibble but admiration to show these dancers are creating magic with their dedication to their art.

"Sech Tanze" is such a fun work and they had the audience in the palm of their hand.

 The tallest male in "Petit Mort" who deserves special mention as his partnering skills were impeccable.  He had such control of his partner and handled her like a delicate rose as if he were not only the florist arranging her but also the vase to showcase her.  I think it is Charles Thompson but apologies as he was the tallest man in this ballet.  He is a male to watch in the future.  I hope he does not just get used for the huge "lugging and lifting" ballets were they need the strongest to carry the woman.  This young man deserves more than that with his magnificent technique.

Give me a contemporary mixed bill any time as you get more dancing per minute than a narrative ballet.  Congratulations to The Australian Ballet.  Hopefully you will bring back "Caravans" by Louise Falco and also pay homage to Ross Stretton, Gailene Stock and Kelvin Coe who danced it originally in Australia.

 

Pilobolus - Shadow Land

Pilobolus - Shadow Land

I saw "Shadow Land" by Pilobolus Dance Theater at The State Theatre on Saturday May 31st 2014 and loved it. For those who have not booked in other Australian cities I recommend it.

It was great to see such a diverse audience last night and they loved it.

What used to be Melbourne Festival fare has now educated audiences to have this as a mainstream dance event. Well done to the producers as I have waited since 1977 to see them live in Melbourne, and I was not disappointed.

This is the first full length work by Pilobolus.  They are an athletic group of dancers who combine so many elements of gymnastics, dance, theatre, shadow-play, and shadow puppetry to create a visual feast.  It is like a dance version of the "The Black Theatre of Prague" that I have seen three times. 

Forget the story as it is so basic and familiar to you already.  It is more like a dreamscape. Let the story wash over you like a hallucinogenic.  A teenage girl longs for her independence and prepares for bed.   She wakes to see her shadow and travels on a journey of discovery.  She turns into a Dog Girl.

If "Shadow Land" was produced in the late 1960s or early 1970s  it would have audiences synthetically marvelling as they did with the film "2001 A Space Odyssey."

I agree with Chloe Smethurst from The Age newspaper (May 31st 2014, page 39) who called the narrative "clunky."  Yes - so what?  Don't worry about the story - enjoy their skill and artistry to create a piece of physical theatre. It is like a bad nightmare. Nothing new here.  So what!

The skill and timing of the dancers is sublime.  Blink and you may miss a visual treat.  Sometimes I had to look twice to recognise some of the images, like those "perception tests" that can be used by Human Resources Departments.

I loved the variety of the segues between scenes.  They used fade- ins, framing techniques, rolling in and out, lighting techniques, screens revolving, and dance to seamlessly direct our attention where it should be.

The circus/freak-show sequence reminded me of a poor cousin to "Pippin" which is currently playing on Broadway (and should play here.)  What Pilobolus performed in this sequence was not the strongest choreographic aspect of the show.  It seemed like a string of tricks to showcase the individual performers that was in keeping with the story.

One of my favourite scenes was the Dog Girl riding in the car with the scenery passing before our eyes. Then they turned around they showed a different perspective of the same scene.  Always moving forward and not being static in their choreographic ideas.  I will not highlight each moment as that would spoil the fun of watching the hitchhiking Dog Girl's journey.

Watch the Dog Girl and how she uses her hands to create ears, tongues and other body parts.  It requires good balance and skill to also hold onto her swag and create two ears.  If she dropped that swag it would spoil the illusion.  Thankfully she does not spoil this illusion.

I loved the simple story and the transitions particularly in the opening sequences whereby we are educated as to how the effects and the shadow play will be produced.  They used two main screens with the larger screen being raised and lowered like a traditional theatre curtain while the smaller screen was wheeled forward and backwards and also used like a revolving stage set.  They also incorporate into the story a lesson in how the shadows are formed, and, how the dancers' location to the light source can determine the size and dynamics of the shadow.

They also used three mobile screens to create the illusion of the full moon passing and then the rising sun. The fluidity of the dancers carrying the  lights and the screens created another illusion of pure joy and simplicity.

The simple and effective use of two large cards to create V shape transitions was majestic.  I loved how you could see how the dancers created these illusions - if you knew where to look.  That is the secret - do not take your eyes off their every move.  Watch everything to see how the ensemble cast change roles from dancer to either puppeteer, lighting or props technician.

There were so many clever uses of lighting, props, staging and choreography.  The dancers were not only responsible to recreate the choreography of movement, but also of the entire set, costumes, props and lights.

The "steps over the backs of other dancers" sequence is such a cliche that was so often used by Sydney Dance Company and also very effectively with stools to climb mountains in "The Three Lives of Lucy Cabrol" (Theater de Complicite). But here we are witnessing one of the 20th Century originators/re-definers of the physical theatre.  Pilobolus are masters of the physical and pay homage to Balinese Shadow Puppets and also to Alwin Nikolais and his use of lights and costumes. ( I was so lucky to have witnessed Alwin Nikolais twice in 1986, and to now see his influence of dance and theatre on Pilobolus.)

I loved the sections broken up between the shadow theatre and the pure physical theatre.  This gave us a respite from just watching the shadow theatre so that we would appreciate their skill in bite size chunks.  They use the five second rule to their advantage.

The finale to the encore is obviously choreographed for each city that Pilobolus visits to the new anthem for New York City: "Empire State of Mind" by Alicia Keys.  It is a clever and memorable finish to personalise and to thank their host city.  It was great to see the cast spell out "Melbourne" with their bodies and hear a resounding cheer of recognition and appreciation from the audience.

I would love Pilobolus to create a short video of these "finale encores" of all of the cities they have visited.

It was  so refreshing to see a non-traditional-dance audience as the majority.  It seemed such a General Public audience and they loved it.  This goes to show that what was once avante-garde dance presented by the Melbourne Festival or Fringe Festival has paved the way to become standard programming fare. Television shows like "So You Think You Can Dance" have also educated audiences to what is possible in physical theatre. It also shows historically that Pilobolus have paved the way for other physical theatre companies like Cirque de Solei etc.

This show is now so accepted as mainstream fare and will hopefully pave the way for audiences to experiment and be tempted to see other contemporary dance companies and assist in the programming decisions at the Arts Centre Melbourne.

Bravo I say to Pilobolus for their dedication since 1971.

I hope you come back soon.

Check out Pilobolus website as they have an extensive touring programme and will be appearing at The Joyce Theater in NYC in July to August 10th 2014.

June 7 2014