Departures

Ken Unsworth Studio, Alexandria, October 4

Anca Frankenhaeuser, Patrick Harding-Irmer, Ross Philip and Susan Barling. Photo: Regis Lansac

Anca Frankenhaeuser, Patrick Harding-Irmer, Ross Philip and Susan Barling. Photo: Regis Lansac

Since 2000, eminent sculptor and artist Ken Unsworth has collaborated with Australian Dance Artists (ADA) on a series of productions, which have now become a highly anticipated annual event for the lucky invited audience.

Part-performance and part-installation, frequently with live music, their work is unlike anything else we are seeing on Sydney’s dance scene.

ADA is made up of four senior/veteran dance artists who have had long, prestigious careers in contemporary dance: Anca Frankenhaeuser and Patrick Harding-Irmer who performed with London Contemporary Dance Theatre, and Susan Barling and Ross Philip, who performed with Sydney Dance Company. Norman Hall, who was ADA’s Founding Director, continues to work with them as a choreographic collaborator.

Susan Barling and Ross Philip. Photo: Regis Lansac

Susan Barling and Ross Philip. Photo: Regis Lansac

Their latest production, Departures, is currently weaving its inspired, crazy magic at Unsworth’s studio in Alexandria where he has built a stage and a small auditorium with three rows of church pews for around 50 people.

Unsworth, who basically finances the productions personally, has commissioned a new score from Jonathan Cooper for Departures, and it’s a beauty. It is performed live by members of the Australian Piano Quartet, Rebecca Chan, Glenn Christensen, James Wannan and Thomas Rann, augmented by Benjamin Kopp on piano, Genevieve Lang on harp and Katherine Lukey on violin.

As always, the production is full of extraordinary, surreal imagery with the choreography created in response to the music and the strange and wonderful sculptural creations that Unsworth has built.

The production begins with a huge ball, mirrored by a smaller one, swinging back and forth in hypnotic fashion, while a glowing orb rises and sets like the sun.

Susan Barling, Ross Philip, Anca Frankenhaeuser and Patrick Harding-Irmer. Photo: Regis Lansac

Susan Barling, Patrick Harding-Irmer, Anca Frankenhaeuser and Ross Philip with Ken Unsworth. Photo: Regis Lansac

Appearing in a top hat with candles, shirt, pants and jauntily mis-matched, colourful socks, Unsworth begins painting figures on paper panels only to be manhandled and summarily dismissed as the dancers make their dramatic appearance.

From there, the production unfolds through a series of powerful images that explore themes of art, love, life and death.

Unsworth has built several large sculptural pieces: a steep slope which Frankenhaeuser traverses with exquisite, elegant poise while interacting with the heads that appear, almost Beckett-like, through trapdoors; a large, square metal frame with hidden secrets behind doors in various compartments; and a spinning double helix spiral staircase which disappears into the roof, which the dancers ascend and descend simultaneously.

There are also two walls – one which has an anguished Barling appearing and disappearing on a spinning shelf, and another with a door to which singer Clive Birch is strapped while singing upright and then upside down.

Patrick Harding-Irmer, Anca Frankenhaeuser. Photo: Regis Lansac

Patrick Harding-Irmer, Anca Frankenhaeuser Ross Philip and Susan Barling. Photo: Regis Lansac

As well as commissioning the score, Unsworth has written the lyrics to a song, Never Ever, performed by Birch and young soprano Rioghnach Wegrecka who walks across the back of the stage from one brightly coloured chair to another.

There’s also a very beautiful, moving duet by Frankenhaeuser and Harding-Irmer, which subverts and distorts the movement to match the music, as well as numerous other striking images including Harding-Irmer in suit jacket and high heel shoes. As always, the movement is underpinned by a depth of emotion from the mature but still toned and eloquent dancers.

Duet between Patrick Harding-Irmer and Anca Frankenhaeuser. Photo: Regis Lansac

Duet between Patrick Harding-Irmer and Anca Frankenhaeuser. Photo: Regis Lansac

With lighting by Roderick van Gelder, costumes by Pamela McGraw and soundscapes by Nate Edmondson, Departures is another feather (candle) in the cap for a unique and inspiring company. Their work really should be more widely seen.

Ken Unsworth makes an appearance in one of his extraordinary sculptures. Photo: Regis Lansac

Ken Unsworth makes an appearance in one of his extraordinary sculptures. Photo: Regis Lansac

Clive Birch and Rioghnach Wegrecka. Photo: Regis Lansac

Singers Clive Birch and Rioghnach Wegrecka. Photo: Regis Lansac

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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.

The Arrangement

Ken Unsworth’s Studio, Alexandria, July 16

Patrick Harding-Irmer, Anca Frankenhaeuser and Susannah Lawergren. Photo: Eamonn McLoughlin

Patrick Harding-Irmer, Anca Frankenhaeuser and Susannah Lawergren. Photo: Eamonn McLoughlin

Right up front I need to say that Anca Frankenhaeuser and Patrick Harding-Irmer – who together with Susan Barling and Ross Philip make up Australian Dance Artists – are close personal friends.

As a result, I haven’t featured or reviewed any of the wondrous work that they have done in Sydney over the past two decades. Now that I have my own blog, the time has come to rectify that, while declaring my connection.

Last week, in collaboration with eminent sculptor Ken Unsworth, composer Jonathan Cooper and The Song Company, Australian Dance Artists (ADA) gave seven performances of a production called The Arrangement, which a small invited audience (around 50 each show) was privileged to see.

The seeds for ADA were sown in 1993, when independent choreographer Norman Hall worked with four dancers from four different generations (Elizabeth Dalman, Harding-Irmer, Barling and Gideon Obarzanek) on a production called 4 Generations. (A history of the company can be found on their website www.australiandanceartists.com).

The four performers that make up ADA are senior artists (veterans, in dance terms) who have had long, prestigious careers in contemporary dance. Among other credits, Philip danced with Sydney Dance Company from 1977 to 1992, while Barling was a member of SDC from 1978 to 1991. Frankenhaeuser and Harding-Irmer performed for 15 and 17 years respectively with London Contemporary Dance Theatre during the 1970s and 80s.

Their experience brings an emotional depth to their dancing that speaks reams.

Since 2000, ADA has collaborated with Unsworth (now 84). Their productions – which are part-performance and part-installation, frequently with live music – are something of a mindf**k. Stunning visual images from the wonderfully whacky world according to Unsworth, which often have you feeling like you have fallen down a rabbit’s hole, combine with profound connections between the four dancers whose choreography is a response to both Unsworth’s imagery and the music.

Together, Unsworth and ADA have presented work at a range of different venues including the Art Gallery of NSW, Cockatoo Island and Unsworth’s studio in Alexandria, where he has created a stage and a small auditorium with three rows of church pews.

The Arrangement, which, like all their work was totally financed by Unsworth, features a newly commissioned score by Cooper for piano, cello, flute and clarinet. A song cycle with settings of texts by A.E. Housman, Federico Garcia Lorca, W. H. Auden, Barnabe Googe and Rainer Maria Rilke for six singers, the score also includes musical interludes.

With Roland Peelman, director of The Song Company, as musical director, the music is beautiful and well suited to dance.

For The Arrangement, staged at Unsworth’s studio, Unsworth dug a pit beneath the stage especially and moved a pillar to extend the stage width-wise.

The production begins with projections (AV design by Tim Hope) of the dancers’ faces. Unsworth then glides across the stage behind a black shape suggesting the back of a piano. With his long, silvery white hair gleaming in the lights, he turns his head from side to side like one of those galleries of clowns at the fairground where you attempt to throw a ball into their open mouth. Then, sounding a large tuning fork like a magician conjuring the show with a wand, the music begins.

The non-narrative production is full of arresting images and vignettes around themes of ascension and descent, levitation, love, consolation, the passing of time and the inevitability of death – at least that’s what I took from it. Unsworth has never been one to spell anything out.

Early in the production, a singer (soprano, Susannah Lawergren) rises angel-like from the illuminated pit beneath the stage through a trap door, disappearing through a hole in the ceiling, chanting “again, and again, and again”. Later she descends in a space-age looking bubble (pictured) and at the end of the production descends back into the pit.

The vocalists all have a fair amount to do while singing. Alto Hannah Fraser flies through the air on a swing. (Mathew Lynn’s portrait of Unsworth in this year’s Archibald Prize features the sculptor on a swing, referencing Fragonard’s famous Rococo painting The Swing). The six-strong vocal ensemble climbs a frame along the back wall of the stage and pass wine from glass to glass. An archangel-type figure in long golden gown with stick arms and legs (baritone, Mark Donnelly) is suspended over the stage from an overhead track.

Visually, as in all the collaborations between Unsworth and ADA, the tumult of images never ceases to surprise and delight, enhanced by Pamela McGraw’s costumes and Eddi Goodfellow’s lighting. Barling reclines in a quivering bed of flowers, Philip interacts with a leg and arm from a mannequin, Harding-Irmer hangs listlessly in a hammock while Frankenhaeuser clambours over him in cajoling fashion. A large doll crosses the stage on a wooden rocking horse as a baby’s cries fill the space and, in a beautiful moment using video, Frankenhaeuser appears to levitate.

The choreography is by the four dancers, with Hall as choreographic collaborator. One of the most powerful moments is a duet between Frankenhaeuser and Harding-Irmer. He stands on an illuminated ball, back to the audience. From behind him, Frankenhaeuser’s hands, arms and feet float and flutter in a dance of their own. Appearing at his side, her body seems charged with an agitated, buzzing energy, which she then plucks and flicks from her, channeling it into his body until his hands and arms start to shake as hers had done.

The duets between Harding-Irmer and Frankenhaeuser seem to speak of nurturing and symbiosis. Those between Philip and Barling suggest something spikier, edgier, more tempestuous and perhaps combative.

Without the budget of a big commercial production where hydraulics and computerisation make for fluid scene changes, some of the scenic elements judder, clank and bang but that is part of the charm of a production, hand-made with so much love, unfolding there for us, so close to us.

The collaborations between Unsworth and ADA are unique, idiosyncratic and special. There is an element of the weird and wonderful as well as the impishly playful, yet the work is underpinned at every turn by a sense of humanity and layered emotion. It is a shame these productions aren’t being picked up and given another life. I’m surprised festivals aren’t tuning in. As it is, Unsworth and ADA have already started talking about the next one.

* The singers from The Song Company also included Clive Birch, Richard Black and Anna Fraser, while Ollie Miller played cello, Lamorna Nightingale played flute and Jason Noble played clarinet.