We are not at your usual end-of-year concert. We are at Carriageworks, Sydney’s coolest performance space to witness graduating students of Sydney Dance Company’s pre-professional year in “Revealed.” An initiative of SDC, PPY is a platform for ballet and contemporary dance students to take the next step, preparing themselves for a career in dance or choreography.
Lien copié dans le presse-papiers
Performance
Sydney Dance Company Pre-Professional Year 2018 in “Revealed”
Place
Carriageworks, December 12-14, 2018
Words
Claudia Lawson
SDC PPY2018 in Rafael Bonachela's “Scattered Rhymes.” Photograph by Gez Xavier Mansfield photography
subscribe to the latest in dance
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
SDC's PPY is the brainchild of company artistic director Rafael Bonachela. Launched in 2014, it gives highly trained students aged between 18 and 24 the opportunity to bridge the gap between dance school and company. Bonachela describes the programme as producing “the next generation of contemporary dance artists in Australia.”
The full house is greeted by a huge blank canvas; dim lights fill the theatre. It is evocative of a SDC performance, in fact there is a sense this is no ordinary student performance. A heartfelt and eloquently delivered “Welcome to Country” given by pre-professional dancer Keia McGrady cements this suspicion.
The night starts with “Akimbo,” choreographed by SDC dancer Cass Mortimer Eipper. An unusual piece which explores the dynamics of oppression, “Akimbo” doesn’t ever quite take flight. However, it sets the scene for the night: these dancers are as good as any professional. I had half expected the night to be solo after solo, akin to an audition. But witnessing the students perform together, you can envisage these dancers filling company ranks.
“Akimbo” was followed by a short film by Sue Healey, Narrabeen.The full cohort of dancers perform on the shores of Sydney’s Narrabeen beach, and it's a wonderful interlude. The highlight of the first half however was “Not A Party Too Soon,” performed by seven dancers. A quirky, fun piece by Ashley Wright, “Not A Party Too Soon” showcased some of the year’s best dancers: on opening night, Nicholas Caldwell, Eugenie English, Jacinta Janik and Taite Williams all demonstrated technical prowess and personality.
“Viral, ” choreographed by Victoria Chiu, was an engaging and interesting piece which explored responses to social media. It was followed by the highlight, for me, of the night, Rafael Bonachela's “Scattered Rhymes.” The piece premiered in 2014 as part of the “Louder Than Words.” The pre-professional students performed the piece with eloquence, strength and fluidity to rival the company dancers. Noteworthy dancers Brielle De Thomasis and Charlotte Hoppe-Smith performed the opening duet, and are ones to watch.
Bonachela has said that “creating an environment that allows dancers to develop an understanding of their own individuality and creative expression within the wider community is intrinsic to the education outcomes of Sydney Dance Company.” And more— by offering students the chance to train in a company-like environment with access to world-class choreographers, SDC is laying the foundation for the next wave of Australian dance talent. It is an exciting initiative, and as a dance critic, these are names that I’ll now watch with interest.
Claudia Lawson
Claudia Lawson is a dance critic based in Sydney, Australia, writing regularly for ABC Radio National, ABC Arts, and Fjord Review. After graduating with degrees in Law and Forensic Science, Claudia worked as a media lawyer for the ABC, FOXTEL and the BBC in London, where she also co-founded Street Sessions dance company. Returning to Sydney, Claudia studied medicine and now works as a doctor. She is the host of the award-winning Talking Pointes Podcast.
What's your poison? Tom of Finland, or Boy George? Madonna, or Marilyn? Top, or bottom? There have been so many recent dramas of late, focussing on eighties' queer culture: The Line of Beauty, Pride, Love Song to Lavender Menace, and It's A Sin, among others.
The New York City Ballet’s 2024 Fall Fashion Gala was once again a smashing fundraising success, pulling in 3.2 million dollars and packing the house with slew of well-dressed celebrities and socialites.
Jessica Lang’s “Black Wave,” her first creation as Pacific Northwest Ballet’s new resident choreographer, is an elusive allegory wrapped inside a metaphor wrapped inside a dream. Rarely have I so wanted to ask a choreographer what she intended.
To celebrate the 90th anniversary of the School of American Ballet, advanced students performed Balanchine’s “Serenade” (also 90 this year) on a special, one-off New York City Ballet program.
comments