Puncture

Riverside Theatre, Parramatta, January 23 at 2pm

A scene from Puncture. Photo: Prudence Upton

A scene from Puncture. Photo: Prudence Upton

Given a brief season as part of the 2015 Sydney Festival, Puncture is such a lovely show that it begs to be brought back and seen more widely.

Directed by Patrick Nolan with choreography by Kathryn Puie and musical direction by Elizabeth Scott, it is the result of a fruitful collaboration between Legs on the Wall, Form Dance Projects (which fosters dance culture in Western Sydney) and Vox, a vocal ensemble from Sydney Philharmonia Choirs.

For the Festival, it was performed on the stage of Parramatta’s Riverside Theatre with the fire curtain down, a bank of seating at one end and percussionist Bree Van Reyk and pianist Luke Byrne at the other.

The show starts almost subliminally. Faint, shadowy images of dancing figures appear on the two sidewalls of the space (video design by Mic Gruchy). A young woman (Kristina Chan) wanders onto the stage, joined not long after by a young man (Joshua Thomson). Their eyes meet, he moves over to her, then another young man intervenes and drags her away.

The space fills up with young people while choral voices singing the word “Hello” fill the air. Couples form and reform, attractions, arguments and passions flare, as the performers move through various dance forms: courtly, folksy, line dancing, the waltz and the tango, leading eventually to a mosh pit-like frenzy.

There is also aerial work with performers flying through the air, and asoprano (Charlotte Campbell) sings while sitting on an aerial hoop. Not only does she look as relaxed as all get-out, but she then throws in a few confident ‘hoop moves’ on her descent.

The gorgeous choral music by composer Stefan Gregory is seductively eclectic ranging from the baroque to a version of Madonna’s Like a Virgin and is beautifully sung by the choir who are mostly positioned near the musicians but now and again move through the dancers and interact with them.

Chan and Thomson – both acclaimed contemporary dancers – are compelling as the young lovers at the heart of the piece. They lead a strong company that also includes Jay Bailey, Cloé Fournier, Anna Healey, Kei Iishi, Billy Keohavong, Rob McCredie, Hayley Raw, Michael Smith, Stephen Williams and Jessica Wong.

All of them perform with enormous energy and an exciting, high-octane physicality, the sweat literally dripping from them, while managing to project individual personalities at the same time.

Praise too to Mel Page for her colourful costuming and Damien Cooper for his lighting.

The piece (which runs for 60 minutes) ends with the choir singing “I love you” as the dancers move towards the audience, inviting some of them up to dance. I, like many, am terrified of the thought of getting up on stage, and I can’t dance, but I was one of the ones invited and have to say it was a lovely moment (thanks Billy!) and a heart-warming, uplifting conclusion.

Puncture is described as embracing “the risk and ritual of intimacy on a dance floor”. It is a beautiful, moving work about human connection and all the emotions that swirl around that. Let’s hope it returns.

Puncture has its final performance at Riverside Theatre, Parramatta at 2pm today.

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Storm Boy: review

Wharf 1, August 18

Rory Potter and Michael Smith. Photo: Brett Boardman

Rory Potter and Michael Smith. Photo: Brett Boardman

Colin Thiele’s much-loved 1963 children’s novel Storm Boy is a contemporary classic, its profile enhanced by the 1976 film. Now comes a beautiful stage adaptation by Sydney Theatre Company and Perth’s Barking Gecko Theatre Company.

Adapted by Tom Holloway and directed by John Sheedy, there is a lovely simplicity to every aspect of the production that suits the story.

Bereft widower Hideaway Tom has moved with his son to an isolated beach shack in the Coorong region of South Australia where they are living a simple life as fishermen.There, the boy befriends a local Aboriginal man named Fingerbone Bill who teaches him about the connection of all living things and the cycle of life. When they discover three motherless pelican chicks, Storm Boy raises them and forms a close bond with one he calls Mr Percival, only for hunters to eventually kill him too.

Michael Scott-Mitchell’s poetic set features a large, curving, wooden skeletal frame that suggests both a beached whale and a sand dune, with a walkway across the top of it and a door set into it for the shack. On the stage in front, is a rowing boat and fishing gear.

Kingsley Reeve’s sound design instantly transports you to beach with the sounds of rolling waves and wind, while plaintive piano music adds to the feel of melancholy.

The storm scene, in which Storm Boy and Mr Percival help save several sailors, is excitingly staged with Damien Cooper’s lighting a key element in evoking the drama.

The pelicans meanwhile are portrayed by a series of wonderful puppets designed by Peter Wilson and created by Annie Forbes and Tim Denton that exude personality. Some of them dart around on wheeled feet while others fly, operated by Shaka Cook and Michael Smith who move with the earthy physicality of Aboriginal dancers. At other times, Cook and Smith simply watch, embodying local Indigenous spirits.

As Storm Boy (a role he shares with Joshua Challenor), Rory Potter proves once again to be a natural on stage. Peter O’Brien convincingly conveys Hideaway Tom’s numbing grief and gradual thawing, while Trevor Jamieson is endearing as the wise, joke-cracking Fingerbone Bill.

The production doesn’t shy away from the themes of grief and death, but nor does it overplay them and become schmaltzy. Instead it has a gentle, melancholic tone tempered with humour. The pelicans biting Hideaway Tom’s bum had children around me laughing delightedly, before shedding tears at Mr Percival’s death.

Storm Boy plays at Wharf 1 until September 8

An edited version of this review ran in the Sunday Telegraph on August 25