Pure Movement - Program 2, Trisha Brown Dance Company, Playhouse Theatre, Saturday 25th October 2014

Pure Movement - Program 2, Trisha Brown Dance Company, Playhouse Theatre, Saturday 25th October 2014

For those new to my blog I write about the holistic experience of attending the theatre.

Note there is my original review below and an amendment at the end:

"Pure Movement - Program 2" was presented by Trisha Brown Dance Company at the Playhouse Theatre by the Melbourne Festival.

The program states five works and I am appalled at the lack of respect for audiences that they did not make an announcement to the order of the dance pieces.  Appalled you may ask?  Yes considering my previous feedback about what was on the "Early Works" program.  It should not be a guessing game for audiences to decipher what pieces they are seeing.

I asked one usher at interval what was the running order of the performance.  She opened her program and began to read out the supposed running order as published in the program.   According to the program the first piece was meant to run for 2.5 minutes.  In fact the first piece ran for more like 20 minutes.  I explained that to her. Did she even bother to read the program?  She then tried to tell me that the second piece was "Newark".  Heavens above!  I had seen "Newark" in Program One and explained that to the usher.  She tried to say it was definitely "Newark" and I emphasised that I had seen it on Thursday night and that the dancers wore grey unitards.  She finally back pedalled and said that she could check with her supervisor at the end of the show.

Later at home I had to decipher from the program notes and the Trisha Brown Dance Company website what I had in fact seen. 

I think it is just plain RUDE that you are not given the courtesy to be told what is on the program.  I have paid big money to see all three of their shows.  Do you have to be "in the know" and the inner sanctum to be given this information.  This is why some people think that theatre is elitist due to this sort of behaviour.

The show began at 8.38pm for a scheduled start time of 8.30pm.

You may think that I did not enjoy the show.  I did enjoy the dancing - in fact I loved the dancer's work.  Though they could have selected a better work to finish the evening.

I had to go online to the Trisha Brown Dance Company  website to try to determine the order of the show.  I know she loves sequences and structure but here is my take on it:  The order was published as for example 1,2,3 Interval then 4 and 5.  The actual order was 5,1,3 Interval and 4 and 2.  It should not be so hard for audiences to have to do their own research to know what they are seeing!

"Set and Reset" began Program Two with two large triangles and a square that had film projected onto their white screens from four reel-to-reel projectors suspended above the stage.  The three large shapes rise to become three dimensional shapes: now they are two pyramids with a cube in between.  Still the historical footage is being projected. 

We then see a dancer carried across the stage by three other dancers.  This is reminiscent of Lindsay Kemp's slow crossing from "Flowers."  They wear beautiful translucent costumes designed by Robert Rauschenberg that follow their movements as good dance costumes should. 

In "Set and Reset" the dancers perform phrases with fouettes both a terre and en l'Air. There are wonderful hip sways that build momentum and create releves and create a Michael Chekhov  lightness and ease to the choreography.  There is more pas de deux or double work in this piece.  It is the most balletic piece that I have seen this wonderful company perform and shows a point of difference in Trisha Brown's choreography. 

I loved the way we could see the dancers in the wings awaiting their entrances through the net like tab curtains.  They played with the tab curtains on some of their entrances and exits that allowed the billowing effects to continue.  Some phrases seemed to originate in their elbows for their port de bras and build into fouette turns.  There were moments of sheer brilliance with the unison phrasing as they would sneak up on us and treat us to their magnificent timing.

I loved their curtain call of forming two lines of four and wheeling around.  They would then wheel these two lines of four again to showcase a variation of the ensemble.  They would exit using a similar phrase and re-enter with similar movements.  It was like watching the Radio City Rockettes post modern style.

"Watermotor"  was danced by Neal Beasley.  This short solo received thunderous applause from devotees.  Neal danced with quick shifts in weight and direction.  Some qualities of movement reminded me of the loose and easy style of Twyla Tharp.

"Les Yeux et l'ame" uses music from the opera with a score by Phillipe Rameau.  There are beautiful grey costumes that have a flowing rectangle of fabric at the front like a Grecian uniform.  This is such a magnificent and sophisticated piece of choreography. There are duos, trios and other variations.  Trisha Brown segues into each grouping with a central pulsation (like a group hug) that blooms into yet another variation.  There is a diagram by Trisha Brown as the backdrop.  Sometimes it looks like the dancer replicate some of the shapes form her drawing.  Her dance is such a sketch-a-graph of patterns.  It reminded me of "Tis A Goodly Sport" at one stage with its playfulness and the Baroque music.

There were pairings with heads being supported and gentle framing. The music was so bouncy and so relaxing and comforting.  It was pure soul food.

Interval/intermission/break!

 "Rogues" was danced by Lee Serle and Neal Beasley. One wore a blue sleeveless t-shirt and the other wore a blue t-shirt unlike the website that has them in orange and greenish colours.  This was danced at times to a harmonica.  The elbows are accentuated for their angularity.  There seemed to be a signature Jose Limon phrase with retrogrades and inversions.  I loved the sweeping feel with the swinging arms and the masculinity of the piece.  This showed great strength and the most masculine of her choreography in the three programs.

"Newark" finished the program and was also in Program One.  However, "Newark" starts with the two men and then two women enter, then another woman.  We build to many variations of the ensemble.  The flat back with the arms in second with a twist is a signature movement.  Lunges are prominent with turned in attitudes derriere.  I was so excited that I saw a developpe en avant as it stood out.  It stood to me as it highlight the limited vocabulary of this piece.

"Newark" had great partner work with the balances of the women on the men's knees.  The women are upside down and they suspend in space until they roll forward.  I was concerned though, that the rolls forward were a little flat-backed and needed more of a rolling motion to make contact with the ground or otherwise could lead to injury.  I had the same feeling at both performances.

Some of the floor work by the men is like a contemporary version of the Cossack dance/tricks. 

"Newark" is better on the second viewing but makes you feel let down as we do not finish on a high as we have seen it before. Any of the other three ensemble pieces in this program would have been the better choice to conclude the evening.

Olsi Gjeci and Stuart Shugg are the two men who dance with the same breath. Jamie Scott reminds me of Marg Downey the Australian actress.  She has such a lovely flow about her dancing.  Leah Ives has an assurance and confidence in her ability to create different qualities.  Tara Lorenzen has a lovely line, lightness and finish to her work.  She is a dynamo and has a cheeky glint in her eye.  Cecily Campbell appears at time to waft into space with her ability to change dynamic shifts, from being a feather to a bullet.

Overall, "Pure Movement - Program 2" was a good program but the order does not do them justice.  Plus it is not fair on the paying public to not know what they are seeing.  As my partner said it did not worry him as they all blurred into one another.  Though we both agree that some people enjoy reading about what they are seeing.  Also knowing the order of what you are seeing is important to be able to give context and try to understand each piece.

It should not be a guessing game about what I am seeing.  Even Merce Cunningham would announce the order of his work when they would randomly alter the order.  It is just plain courtesy and respect for the paying audience.

"Pure Movement - Program 2" gets a 7.5/10.

 

Amendment to my review written late Sunday 26th October 2014:

I went to the theatre on Sunday 26th October to see "If These Walls Could Talk" and spoke to a supervisor, Stephen about the usher incident on Saturday night.  He mentioned that there was an insert for the program.  I said that we never received an insert in our program.  My partner did not get the insert in his program.  Stephen offered to get an insert for me and it was the order that I worked out above it correct.  My experience would have been different had we received an insert in the program or an announcement made.

I do not retract what I said above from my experience but emphasise that having a consistent positive experience is my aim for all theatre goers.

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