OUR land people stories

Drama Theatre, Sydney Opera House, June 16

Bangara Dance Theatre Our Land People Stories

Bangarra ensemble in Macq. Photo: Wendell Teodoro

Bangarra Dance Theatre’s new triple bill OUR land people stories takes you to dark places but it is also a moving celebration of the resilience of the human spirit and the healing power of art.

Together the three works – each featuring a simple but striking set by Jacob Nash, beautiful costumes by Jennifer Irwin and moody lighting by Matt Cox – create an over-arching Indigenous narrative from colonial massacre, to the survival of identity through the strength of kinship and connection to country, to artistic success and expression today.

While Nayapanyapa marks Stephen Page’s 25th year as artistic director of the company, the other two works are by emerging choreographers drawn from the ranks of Bangarra dancers. The fact that together they make for such a satisfying program is an encouraging sign for the future.

The program begins with Macq by Bangarra dancer Jasmin Sheppard, which premiered in 2013 as part of Dance Clan 3 but which has since been further developed. Opening with mourning women gathered around a body, it is set in 1816 when Governor Lachlan Macquarie, believing that his well-intentioned social policies for “the natives” weren’t working, sanctioned the massacre of D’harawal people near Appin as punishment for attacks by “hostile tribes”.

Staging much of it on and around an extremely long table with a warped chandelier and tea set and the ensemble in costumes that parody colonial society, Sheppard has created some wonderfully inventive choreography. She has a very keen visual sense and several resonant images etch themselves deeply in the heart and mind. The haunting way she evokes hanging men – held up from behind by other dancers who represent both the trees they hang from and the fellow tribesmen who cut them down – is shocking yet tender. Red-coated soldiers with rifles crawling on their bellies are like a cross between contemporary commandos and lizards.

Daniel Riley is superb as the conflicted Macquarie in a tortured solo and a fierce, combative duet with Beau Dean Riley Smith as a D’harawal man, while Nicola Sabatino is moving as a mourning woman.

Macq features a stunningly evocative score by David Page, the company’s ground-breaking music director who died suddenly in April. The Sydney season and national tour of OUR land people stories is dedicated to his memory.

The pioneering way David (brother of Stephen Page) combined traditional and contemporary music with spoken language (both Indigenous and English) and song has become a distinctive Bangarra feature and his influence can be felt in the scores for the other two pieces in the program: Miyagan with music by Paul Mac and Nyapanyapa with music by Steve Francis.

Bangara Dance Theatre Our Land People Stories

Bangarra dancers in Miyagan. Photo: Wendell Teodoro

Miyagan is about the kinship system of the Wiradjuri Nation in NSW to which its co-creators, dancers Riley and Riley Smith, both belong. Set at the Talbragar mission in Dubbo in the early 1900s, where their great-great-grandfather lived, they use the entire company of 17 to evoke the complex web of family ties as part of which each person has their role and responsibility.

Nash’s overhanging branches with feathered leaves are visually arresting and there is some wonderful costuming by Irwin. The choreography has a springiness to it that feels a little different from much of the very grounded Bangarra style and there is some ebullient unison group work. Not all the story-telling is as clear as it might be (are the hairy-headed figures guiding spirits?) but there is much to enjoy.

In Nyapanyapa, Stephen Page celebrates the life of acclaimed visual artist Nyapanyapa Yunupingu, a Yolngu woman from North East Arnhem Land. Nash’s staging evokes several of her paintings, including one telling of her traumatic goring by a buffalo as a young girl. Through various short scenes including a joyous community dance where Nyapanyapa struggles to join in we watch her find herself through her art.

Bangarra Ensemble - Nyapanyapa, OUR land people stories - Photo by Jhuny Boy-Borja

Bangarra ensemble with Waangenga Blanco as the buffalo in Nyapanyapa. Photo: Jhuny Boy-Borja

The dancing is powerful across the board but the radiant Elma Kris brings enormous heart to the title role in a gorgeous work with lovely touches of humour.

To watch Nyapanyapa Yunupingu herself take slowly to the stage on Page’s arm for the opening night curtain call was a moving end to an inspiring night.

OUR land people stories plays at the Drama Theatre, Sydney Opera House until July 9. Bookings: 02 9250 7777 or www.sydneyoperahouse.com. It then tours to Perth, July 20 – 23; Canberra, July 28 – 30; Brisbane, August 12 – 20; Melbourne, September 1 – 10. Details: www.bangarra.com.au

 A version of this review appeared in the Sunday Telegraph on June 19

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2014: The Year That Was in Sydney Theatre

Looking back over 2014, it was a solid rather than a spectacular year in Sydney theatre. There were some impressive productions and performances but overall not a huge amount that will linger forever in my mind as unforgettable.

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard in Sweet Charity for the Hayes Theatre Co. Photo: supplied

By far the most exciting thing was the advent of the Hayes Theatre Co. A group of producers under the banner of Independent Music Theatre (IMT) took over the 115-seat theatre in Potts Point, previously the home of the Darlinghurst Theatre Company, and turned it into a venue for independent musical theatre and cabaret. Named after musical theatre legend Nancye Hayes, the Hayes Theatre Co opened with a bang in February with superb productions of Sweet Charity followed by The Drowsy Chaperone: two of my highlights for 2014.

For the rest of the year, the venue constantly generated excitement even if some of the productions were less successful than others. But it was great to see them producing two new musicals as well as a terrific cabaret festival, which confirmed how many exciting young cabaret performers are emerging in Australia and how rich and varied the genre now is, with other artists performing at the theatre during the year as part of its Month of Sundays cabaret program.

Elsewhere in Sydney theatre, it was good to see female directors and playwrights really making their mark and – as others have noted – queer theatre and indigenous stories gaining a higher profile in the mainstream. The number of powerful new Australian plays was also notable.

I saw 182 productions. These are my highlights for the year.

MUSICAL THEATRE

Sweet Charity

As I say, the Hayes Theatre Co gets my vote for the most exciting venue and initiative of the year. It could hardly have found a better way to begin. Sweet Charity sold out within three days (fortunately I had already bought tickets into the run so saw it twice). Director Dean Bryant and his creative team brought a dirtier, grittier edge to the musical and staged it ingeniously in the tiny space. Verity Hunt-Ballard was gorgeous in the title role, heading a strong cast that also included Martin Crewes as Charlie, Vittorio and Oscar, and Debora Krizak as Nickie and Ursula. The production tours next year. It will be interesting to see how Bryant expands it for the larger venues.

The Drowsy Chaperone

Sweet Charity set the benchmark high but The Drowsy Chaperone matched it. Staged at the Hayes by Squabbalogic (which began the year as part of IMT but parted ways, presenting the rest of its productions at the Seymour Centre’s Reginald Theatre), Jay James-Moody directed a deliciously inventive production of the delightful, tongue-in-cheek, meta-theatrical show. James-Moody also played the Man in Chair and gave a very funny but sweetly poignant performance. The entire ensemble cast was spot-on and the feel-good show sold out like Sweet Charity before it, leaving many lamenting they were unable to see it. One to revive in 2015 perchance?

Miracle City

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Josie Lane, Marika Aubrey and Esther Hannaford in Miracle City. Photo: Kurt Sneddon

The Hayes also staged a long-awaited revival of Max Lambert and Nick Enright’s legendary Australian musical Miracle City, not seen in Sydney since Sydney Theatre Company gave it a development production in 1996. With Lambert as musical director, the show about a US televangelist family raised the roof with its gospel-country songs and struck a strong chord with its dark story. Blazey Best was sensational as the unravelling Lora-Lee Truswell and Esther Hannaford broke your heart with her exquisite rendition of the show’s best-known song I’ll Hold On.

Truth, Beauty and a Picture of You, Beyond Desire

All power to the Hayes for staging two new musicals, even though neither were an unqualified success. Both were strong musically but need further work on the book. But there were some wonderful performances in both shows, notably Ian Stenlake and Scott Irwin in Truth, Beauty and Picture of You (featuring the music of Tim Freedman and a book by Alex Broun) and Nancye HayesChristy Sullivan and Blake Bowden in Beyond Desire (by Neil Rutherford).

OTHER MUSICAL THEATRE

Ruthless! The Musical

Elsewhere in independent musical theatre, a new indie company called The Theatre Division staged Marvin Laird and Joel Paley’s 1992 off-Broadway show Ruthless! at the Reginald Theatre. A send-up of showbiz and the pursuit of fame, it’s a very lightweight little piece but lots of fun. The production was stylishly designed and well performed by a strong female cast led by the ever-reliable Katrina Retallick, with Geraldine Turner as an acid-tongued theatre critic.

Strictly Ballroom

Thomas Lacey and Phoebe Panaretos. Photo: Jeff Busby

Thomas Lacey and Phoebe Panaretos in Strictly Ballroom. Photo: Jeff Busby

 As in 2013, commercial musical theatre was decidedly patchy in 2014. Baz Luhrmann’s hotly anticipated musical based on his film Strictly Ballroom had its moments but didn’t fully fire. The score was a bit of a mish-mash, some of the choreography felt flat when it needed to soar, and the production was often over busy. Catherine Martin’s costumes were sensational though.

Phoebe Panaretos made an impressive debut as Fran, with standout performances from Robert Grubb as the conniving Barry Fife and Heather Mitchell as Scott’s pushy mother. Luhrmann has already improved the show since opening and is reworking it further for its Melbourne opening. I will be fascinated to see it again there.

The King and I

Lisa McCune shone even brighter than Roger Kirk’s glorious costumes, giving a radiant performance as Anna in the Opera Australia/John Frost revival of Frost’s 1991 production. There was some controversy about the handling of the racial elements in the musical, particularly the casting of the non-Asian Teddy Tahu Rhodes as the King. Politics aside, the production was beautifully staged and I found Tahu-Rhodes moving as the King. The Asian characters were also sympathetically performed within the context of a 1950s musical.

Besides that, Sydney saw the return of Wicked, with Jemma Rix in fine form as Elphaba and Reg Livermore bringing a winning showmanship and humanity to the role of the Wizard, as well as a rather ordinary production of Dirty Dancing that has nonetheless been delighting audiences, with Kirby Burgess stealing the show as Baby – her first leading role.

Les Miserables

The barricades in Les Mis. Photo: Matt Murphy

The barricades in Les Miserables. Photo: Matt Murphy

The hugely popular musical is back to storm the barricades afresh in a 25th anniversary production featuring new staging and new orchestrations – and stunning it is too. Beginning its tour in Melbourne, there are superb performances from Simon Gleeson as Valjean and Hayden Tee as Javert, who head a generally excellent cast. I thought I’d miss the revolving stage. I doubted I’d be as moved as in the past but I was bowled over and emotionally undone. Can’t wait to see it again in Sydney in 2015.

Once

Staged in Melbourne, with no plans to tour apparently, Once is a bittersweet, wistful little musical, based on the film. The lo-tech staging is so clever and so right for the show, the music is infectious, and the performances lovely. Totally charming.

THEATRE

Henry V, Bell Shakespeare

Can Damien Ryan do no wrong? His idea of staging Henry V (for Bell Shakespeare) as if performed by a group of school students taking refuge in a shelter during the 1940 London Blitz proved inspired. Performed by a marvellous ensemble, Ryan brought his customary clarity to the dense play and left us in no doubt as to the ugliness of war.

Ryan also directed riveting, intelligent, moving productions of All’s Well That Ends Well and The Crucible for his own company Sport for Jove – arguably the most exciting indie theatre company in Sydney.

Tartuffe, Bell Shakespeare

Another terrific Bell Shakespeare production directed by Peter Evans. Featuring a hilariously funny contemporary adaptation by Justin Fleming, the rollicking production was a complete hoot with Kate Mulvany a knockout as the sassy, cheeky maid Dorine.

Pete the Sheep, Monkey Baa Theatre Company

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

A gorgeous show for children, adapted for the stage by Eva di Cesare, Tim McGarry and Sandra Eldridge from the picture book by Jackie French and Bruce Whatley about a sheep shearer who has a sheep called Pete rather than a sheepdog. Directed by Jonathan Biggins, with songs by Phil Scott, the production tickled adults as much as children, with everyone laughing uproariously while still being touched by the message about difference and acceptance. A real beaut.

A Christmas Carol, Belvoir

Another delightful adaptation, directed by Anne-Louise Sarks, that while not shying away from the darker corners of Dickens’ novella, filled the stage with joyousness and snow. The entire cast were perfect but Miranda Tapsell’s smile as Tiny Tim and Kate Box’s playfulness as the Ghost of Christmas Present, sparkling in a glorious costume made from gold tinsel (by Mel Page), would have melted the hardest hearts.

The Glass Menagerie, Belvoir

After several disappointing adaptations of classics, Belvoir made up for it with Eamon Flack’s production of Tennessee Williams’ semi-autobiographical play. Flack’s use of two large screens on either side of the stage showing black and white footage emphasised that what we are seeing are Tom’s memories and gave the production a dream-like quality and sense of the past. Luke Mullins was marvellous as Tom and Pamela Rabe was a tough Amanda. My only reservation – there were sightline issues for anyone sitting on the side.

Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company

A new Australian play by Declan Greene, set in the Internet era, that is emotionally hardcore rather than pornographic. Written with a spiky economy, it features two desperately lonely, middle-aged people full of self-loathing. Steve Rodgers and Andrea Gibbs bared themselves emotionally in extraordinary performances. Directed by Lee Lewis, the production was insightful and painfully sad.

Switzerland, Sydney Theatre Company

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

A thrilling new play inspired by the life and writing of Patricia Highsmith in which playwright Joanna Murray-Smith weaves a psychological thriller set in Switzerland at the end of Highsmith’s life. Adroitly directed by Sarah Goodes, Sarah Peirse fully inhabited the role of Highsmith in a magnificent performance, with Eamon Farren also compelling as an emissary from her publisher sent to cajole her into writing another Tom Ripley novel, subtly and convincingly conveying his character’s gradual evolution. Brilliantly constructed, witty and gripping, the play will soon be seen at the Geffen Playhouse in Los Angeles.

Cyrano de Bergerac, Sydney Theatre Company

It was interesting to see Cyrano de Bergerac again, having been bowled over by Sport for Jove’s production at the end of last year. The STC production, featuring an adaptation by Andrew Upton, is very different, retaining the original 17th century setting. Truth be told I preferred Sport for Jove’s production but Richard Roxburgh gave a sublime performance as Cyrano, underpinned at every turn by a deep, dark, painful melancholy. Yalin Ozucelik (who was also wonderful as a more exuberant Cyrano for Sport for Jove) was the perfect foil to Roxburgh, giving a beautifully measured performance as Cyrano’s loyal friend Le Bret. Eryn Jean Norvill was lovely as Roxane.

Children of the Sun, Sydney Theatre Company

Andrew Upton’s adaptation of Maxim Gorky’s play was given an elegant, eloquent production by director Kip Williams. Set in the 1860s, with revolution in the air, it concerns an upper middle class Russian family whose lives are about to change forever. Featuring a fine cast, including Jacqueline McKenzie as the only one who senses what is coming, it was deeply moving.

Clybourne Park, Ensemble Theatre

Tanya Goldberg directed the highly anticipated production of Bruce Norris’s award-winning play for the Ensemble and did a fine job. The first act is set in 1959 in a predominantly white suburb of Chicago, the second in 2009 when the suburb is now mainly home to Afro-Americans. An excellent ensemble had us wincing at some of the attitudes in the provocative, discomforting play. All the cast were terrific but Nathan Lovejoy was outstanding as the bigoted neighbour in Act I and a new, white home buyer in Act II.

A Doll’s House, Sport for Jove

Adam Cook’s beautifully paced, richly nuanced, period production kept you on the edge of your seat. A young woman behind me who didn’t know the play was hysterical with excitement at the end. Matilda Ridgway gave us a multi-faceted Nora in a production that added yet another feather to Sport for Jove’s already well-covered cap.

Howie the Rookie, Red Line Productions and SITCo

One of the best indie theatre productions of the year. Directed by Toby Schmitz at the Old Fitzroy Theatre, Andrew Henry and Sean Hawkins gave exceptional performances as two working class Dubliners telling a blood-and-guts yarn through Mark O’Rowe’s two intersecting monologues. Lisa Mimmocchi designed the perfect minimal space. A dark little gem.

Is This Thing On?, Belvoir Downstairs

A riotous new play by Australian writer/performer Zoe Coombs Marr about a lesbian stand-up comedienne at five stages of her life and career, swirling around the night when it all imploded. Kit Brookman directed on a set by Ralph Myers that captured the feel of a grotty pub. Susan Prior’s no-holds-barred, manic performance was at the heart of the show.

NEW AUSTRALIAN PLAYS

Steve Rodgers and Andrea Gibbs. Photo: Brett Boardman

Steve Rodgers and Andrea Gibbs in Eight Gigabytes of Hardcore Pornography. Photo: Brett Boardman

Besides Eight Gigabytes of Hardcore Pornography, Switzerland and Is This Thing On? there were many strong new Australian plays in 2014 including:

Black Diggers by Tom Wright about Indigenous soldiers who fought during World War I and their appalling treatment when they returned to Australia. Premiered by Queensland Theatre Company and Sydney Festival.

Jump for Jordan by Donna Abela for Griffin Theatre Company, about a young woman born in Australia to Jordanian parents struggling to negotiate the gap between their culture and expectations, and her world.

Krytonite by Sue Smith in which she traced Australia-China relations through a personal relationship between two people who meet at university. Ursula Mills gave a sensational performance as Chinese woman Lian for STC.

Sugarland by Rachael Coopes and Wayne Blair, commissioned by atyp and written after a series of workshops with young people in the Top End town of Katherine. A moving piece about troubled teenagers, both indigenous and non-indigenous, in remote communities, with touching performances by a cast including Hunter Page-Lochard, Dubs Yunupingu and Elena Foreman.

Brothers Wreck by Jada Alberts A heartfelt Indigenous story about a young man called Ruben (Hunter Page-Lochard) struggling to cope with his cousin’s suicide, and his family’s struggle to care for him and keep him safe. A dark but humane, optimistic play, premiered by Belvoir.

M.Rock by Lachlan Philpott about a grandmother (Valerie Bader) who heads to Europe to find her missing granddaughter and becomes a famous DJ, staged by STC and atyp.

The Long Way Home by Daniel Keene, commissioned by STC and the Australian Defence Force and written from first-hand accounts of returned servicemen and women, many suffering post-traumatic stress disorder. The play was performed by returned soldiers alongside four professional actors. A powerful production and a wonderfully enlightened ADF initiative.

Once in Royal David’s City by Michael Gow. A theatre director already searching for meaning spends Christmas with his dying mother. Gow explores numerous themes including political theatre, consumerism, mortality and love. Brendan Cowell gave a searing, raw performance, with Helen Morse as his frail mother in the Belvoir production.

Unholy Ghosts by Campion Decent, premiered by Griffin Theatre Company. Decent’s touching autobiographical play about a playwright torn between his divorced but still warring parents – a grouchy father and diva-like mother – both facing death.

A FEW OTHER HIGHLIGHTS

Handa Opera on Sydney Habour: Madama Butterfly, Opera Australia A stunning, grittily contemporary production directed by Alex Ollé (of La Fura dels Baus) with a heart-breaking performance by Hiromi Omura. And what a location.

Louder Than Words, Sydney Dance Company An exhilarating double bill of works by Rafael Bonachela and Greek choreographer Andonis Fondiakis. I particularly liked Bonachela’s exquisite Scattered Rhymes. And the dancing! Never has the company looked better.

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

Patyegarang, Bangarra Dance Theatre A luminous production, choreographed by Stephen Page, telling the fascinating “first contact” story of Lieutenant William Dawes and Patyegarang, a young woman of the Eora nation. Told through 13 almost dreamlike scenes and ravishingly staged (set by Jacob Nash, costumes by Jennifer Irwin, lighting by Nick Schlieper, music by David Page), it could have been a little bit more dramatic at times but it was just beautiful.

The Arrangement A collaboration between Australian Dance Artists (veteran dancers Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer and Ross Philip), eminent sculptor Ken Unsworth, The Song Company and composer Jonathan Cooper, staged at Unsworth’s studio. A tumult of ever-suprising visual images combined with glorious music and fascinating movement that reverberated with a profound sense of humanity to create a unique and wondrous piece of work.

Skylight in London I was lucky enough to catch Stephen Daldry’s superb production of David Hare’s 1995 play in the West End on a brief visit to London. Featuring the kind of intelligent writing you long to encounter more often, it explores the political through the personal, with nothing cut-and-dried or black-and-white as your sympathies swing back and forth. Bill Nighy and Carey Mulligan were both wonderful.

Limbo, Strut & Fret and Underbelly Productions A dark, sexy, enthralling circus-cabaret show, staged in the Spiegeltent as part of the Sydney Festival that combined jaw-dropping acts with a coherent, netherworld-like aesthetic and a strong sense of drama. It was exhilarating and it sold out fast. If you missed out it’s back at the 2015 Sydney Festival so get booking. I’ll be going back to see it again.

And that’s it. Here’s to a chilled New Year and to many theatrical delights in 2015.

Patyegarang, Bangarra Dance Theatre

Drama Theatre, Sydney Opera House, June 24

Jasmin Sheppard and Thomas Greenfield. Photo: Jess Bialek

Jasmin Sheppard and Thomas Greenfield. Photo: Jess Bialek

Patyegarang is a luminously beautiful work in its staging, its performance and the story it tells.

Choreographed by Stephen Page as the centerpiece of Bangarra Dance Theatre’s 25th anniversary year, it is the first Sydney story that the company has tackled – and what a fascinating “first contact” tale it tells.

The inspiration was the relationship between Patyegarang, a 15-year woman of the Eora nation, and Lieutenant William Dawes, an astronomer, linguist and mathematician who arrived with the First Fleet and became the colony’s timekeeper. Patyegarang befriended Dawes and taught him her language and about her culture – which he detailed in his diaries, rediscovered at the University of London in 1972.

In creating this 70-minute work, Page successfully avoids literal story telling. Instead the piece unfolds in haunting, almost dreamlike fashion through 13 scenes, which take different themes that evoke the spirit of the land and people before the arrival of the early settlers, their culture, the notion of time, conflict, intimacy, resilience etc.

The choreography is lovely, combining the grounded traditional movement now so closely associated with the company with contemporary dance. The contrast between the movement for Dawes and the other indigenous men could have been highlighted a little more initially but there are some stunning solos, duets and ensemble numbers.

Jasmin Sheppard is radiant as Patyegarang, dancing with a lithe, gentle, expressive fluidity. A tiny figure next to guest artist Thomas Greenfield who is a strong, striking presence as Dawes, they are gorgeous together. Elma Kris and Waangenga Blanco are also standouts.

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

Jacob Nash’s stark, rugged set, Jennifer Irwin’s costumes and Nick Schlieper’s richly coloured lighting make for a work of stunning visual beauty, while David Page’s score, which combines traditional, classical and electronic music with spoken words, has a mesmerising, pulsing quality.

Dawes built up a relationship of trust with the local Aboriginal people. He wanted to stay in Sydney but was ordered home after he defied an order to take part in a punitive expedition against them. Patyegarang’s grief as she lies with his red jacket over her head is here a deeply moving image.

Richard Green, a Dharug man who acted as the cultural advisor for the project puts it simply: “Dawes was different, he listened.” Patyegarang intimates what might have been had there been more people like him. A beautiful work.

Patyegarang plays in Sydney until July 5 then Canberra July 17 – 19, Perth July 30 – August 2, Brisbane August 15 – 23 and Melbourne August 28 – September 6.

Dance Clan 3

Bangarra Studio, Pier 4, November 21

Beau Dean Riley Smith and Leonard Mickelo in Nala. Photo: Greg Barrett

Beau Dean Riley Smith and Leonard Mickelo in Nala. Photo: Greg Barrett

For Bangarra Dance Theatre’s contribution to the inaugural Corroboree Sydney festival celebrating indigenous arts and culture, artistic director Stephen Page commissioned four new works for Dance Clan 3 – a program he initiated in 1998 to nurture storytelling by the company’s artists.

In a bold, pro-active move, he decided this time to commission four of the company’s senior female dancers – Deborah Brown, Yolande Brown, Tara Gower and Jasmin Sheppard – all of whom rose to the occasion with pieces full of beauty and promise.

Performed in the intimate space of the company’s rehearsal studio on Pier 4, the evening began in high spirits with a playful scene at an outdoor cinema in Gower’s Nala. Jumping from deckchairs to dance with giant crisp bags on their feet, it got the night off to a joyous start. Drawing on the love affair between her grandparents in Broome, Nala then turned more serious with duets suggesting social and cultural divide as progress takes its toll on the land and way of life.

Sheppard’s Macq, centred on and around a large table, explored the 1816 ‘March of Macquarie’ on Aboriginal people after Governor Macquarie’s well-intentioned social policies fell apart, with the might of the colonial power set against the anguish of the Aboriginal people. Daniel Riley was a commanding presence as Macquarie, some of the choreography around the table was wonderfully inventive, while a stunning image of hanging men shook you with its simple beauty and shocking, haunting power.

Beau Dean Riley Smith and Daniel Riley in Macq. Photo: Greg Barrett

Beau Dean Riley Smith and Daniel Riley in Macq. Photo: Greg Barrett

Deborah Brown choreographed a dance film called Dive about pearl fishing in the Torres Strait, shown on a large screen hoisted up on ropes. Interweaving film extracts with choreography featuring two dancers in large diving helmets and dancers depicting the pearls, she created a wonderful underwater world.

Yolanda Browne’s Imprint, inspired by the 1978 women’s Batik project to support native title and Emily Kame Kngwarreye’s yam-dreaming stories, used images of threads, weaving and fabric as a woman is covered with the colours of the earth, eventually becoming part of the land.

All the pieces had a distinctive feel, but they were staged so they flowed one into the other without breaks.

Performing as a true ensemble, the dancing was lovely with Elma Kris shining, while the music by Huey Benjamin, David Page and Steve Francis, set design by Jacob Nash, costumes by Jennifer Irwin and lighting by Matt Cox supported each piece beautifully.

Though the Bangarra style, aesthetic and vocabulary was understandably evident in each work, all four choreographers showed moments of real individuality, suggesting much promise and potential. The night I saw it the performance certainly struck a chord with a packed audience who sat rapt and applauded wildly at the end.

Dance Clan 3 plays at Bangarra’s Studio, Pier 4 until December 1. Bookings: bangarra.com.au