Tag: theatre

Reviewed by John Daly-Peoples

Black Grace: Celebrating 30 years

Civic Theatre, Auckland

November 21

Then Isaac Theatre Royal, Christchurch

November 25 & 26

Reviewed by John Daly-Peoples

For their thirtieth anniversary finale Black Grace presented two works, one a new piece by Neil Ieremia and a work by the legendary American choreographer Paul Taylor, created in 1975.

Of the first work on the programme “If there ever was a time” Ieremia notes, “I was raised in the church, carried along by its stories, its hymns, its promises. I have been losing my religion for the last forty years. This work is my response to what I see as the weaponisation of faith”.

The work takes an ambivalent approach to his dilemma with the music he uses to propel the dancers a mixture of traditional Pacific music – Samoa Sila Sila and contemporary music including “Voodoo in my Blood” from Massive Attack & Young Fathers and “Monolith” featuring DJ Krush with their anti-capitalist rages.

The set featured a large image of the moon which slowly moved across the rear of the stag while above the stage was cloud form of wispy fabric which ultimately collapses, a metaphor for the failure of the old order and religion.

The music was a mixture of traditional Pacific music – Samoa Sila Sila and contemporary music including “Voodoo in my Blood” from Massive Attack & Young Fathers and “Monolith” featuring DJ Krush.

The work is like a series of rituals with repeated movements and sequences of action and reaction where the physical exertion of the dancers reflect idea about passion and emotion.

Like a lot of contemporary dance, the work owes much to the Stravinsky / Nijinsky ballet “The Rite of Spring” with its rituals and confrontations.

“If there ever was a time” used some of these ideas in addressing issues around religion, colonialism and Ieremia’s ambivalence about religio and its effects on the Pacic Island communities.

The dancers’ gestures and movements are those which have often been used by the company for many years – signalling with the hand, arm and leg displays which are strongly angular and abrupt. Some of the movements are close to rap moves with sharp slides, leaps and pivots, the agitated movements mirroring the frantic sounds of the music.

At one point group of dancers form an elaborate multi-faceted form – a parasite or insect which inches across the stage menacing the sole dancer who skips relentlessly.

The image of this confrontation evokes the imagery of Franz Kafka’s “Metamorphosis” where an individual struggles to find identity and break from conformity.

In another sequence two figures – a betrothed couple, one holding a wedding bouquet enter from either side of the stage, their heads wrapped in cloth, restrained by straining figures. Their anonymity and desperation seem to have been taken from the Magritte painting “The Lovers” where two figures, their heads wrapped in cloth attempt to kiss, suggesting the complexities of love and intimacy.

The choreography was endlessly original and interesting where simple dance steps evolve into unusual and unsettling movements and as the music changes the forms, dynamics and energy evolve.

The second work on the programme was Paul Taylor’s 1975 work “Esplanade”, a piece Ieremia had been wanting to present for many years. It was inspired by the sight of a young woman running to catch a bus. This notion of using everyday movement and elevating it to dance has been a central concept of Black Grace dance since its inception.

The work links ballet, court dance and contemporary movement danced to Bach violin concertos providing a mix of elegance and simplicity.

Much of the time the dancers walk, run, slide, and whirl around the stage seeming to follow some predetermined paths in fluid and orderly formations. Elizabethan court dance refashioned in a modern form.

There were elements of energy and drama when the women took giant leaps into the male dancers’ arms as they rotated around the stage. These bolds moves contrasted with the more tender sequences which emphasised weightlessness and where the dancers met casually, touched lightly, bracing and gesturing in languid movements.

While much of the dancing was at frenetic pace there were also times when the dancers seemed to slow their movements to become more like stop motion sequences highlighting the nature of movement

While the work is based on the movement of the street there is a vibrancy and energy to the work with its combination of rushing and motionless dancers giving the work a visual and emotional power.

To subscribe or follow New Zealand Arts Review site – www.nzartsreview.org.

The “Follow button” at the bottom right will appear and clicking on that button  will allow you to follow that blog and all future posts will arrive on your email.

Or go to https://nzartsreview.org/blog/, Scroll down and click “Subscribe”

Reviewed by John Daly-Peoples

Rage Rage

Black Grace, Company B

Hunua Room

Aotea Centre

Until June 5

Reviewed by John Daly-Peoples

For Black Grace’s “Rage Rage” the Aotea Centre’s Hunua Room was set up with a high catwalk built through the centre of the space.

Was this nod to Dylan Thomas’s “Rage rage against the dying of the light” or a personal rage of Neil Ieremias. His work has always had an element of the personal and the political with works which are confrontational both between the performers themselves and between performers and audience.

Up to a couple of dozen performers race around the stage, in waves of massed groups, performing a series of linked dances to a range of music from traditional Samoan to contemporary rap.

Like all Ieremia’s shows this was a high energy and relentless performance combining many of the elements of his previous explorations in dance.

There is the hand clapping, foot stomping, the falls / collapses, hand movements like a form of deaf signing and arms used as a kind of semaphore.

The various sequences are introduced by Strictly Brown founders Leki Jackson-Bourke and Saale Ilaua who reminisce about their time at school, favourite TV and films and playground games. These reminiscences lead the company into surges of movement.

The sounds are a mixture of the traditional and the modern as the dancers negotiate issues of the present which are rooted in the past. Some of these are addressed in the latter part – Covid, climate change and the future of Tuvalu.

Many of routines seem based on the schoolyard ‘game’ of Rush, some of which morph into fights or just dissipate.

The final sequence is a mix of despair and celebration danced to a nihilistic vocal soundtrack-

“I don’t belong here

I’m a weirdo

What the hell am I doing here”

With the refrain

You don’t belong here

Which encapsulates so .much feeling and emotion focused on the emptiness of contemporary life.

Like much of Black Grace dances there is a tension and drama created by the action and reaction, between rapid movement and calm, between a zombie-like state and intense animation.

Throughout the performances there is an awareness of the beauty and intensity of the dance and the strange conflicting visceral and abstract nature of the dancing which underlines Ieremia’s ability to create dance which is focused and potent

To subscribe or follow New Zealand Arts Review site – www.nzartsreview.org.

The “Follow button” at the bottom right will appear and clicking on that button  will allow you to follow that blog and all future posts will arrive on your email.

Or go to https://nzartsreview.org/blog/, Scroll down and click “Subscribe”

Reviewed by John Daly-Peoples

Lula Washington Dance Theatre

Aotea Centre

March 13 -16

Reviewed by John Daly-Peoples

The Lula Washington Dance Theatre is a contemporary modern dance company  in Los Angeles which has performed across the United States and toured internationally. It was established forty years ago when Lula Washington realised there were few black dance institutions in America  .

They have a stylish approach to contemporary dance incorporating elements of African and Caribbean dance as well as contemporary modern dance and ballet. All these elements were seen in the opening number where three dancers – Love, Faith and Hope,  performed to  heavy beats, foot stomping and clapping with the audience encouraged to add to the heavy clapping to that of the dancers and he riotous drumming morphed from African beats to something closer to hip hop.

Three female dancers were joined by male dancers who became intertwined and there was a sense of the dancers and audience all part of a church service, street performance or gym workout.

Accompanying the hectic dancing were references to American segregation, slavery, lynchings and race riots – Charleston, Springfield, Watts and an image of George Floyd

Accompanying this dancing was some relentless drumming with and  intense energy more akin to that of a night club and each of the sequences was given multiple bursts of applause from the audience.

Throughout this sequence the woman danced like ghost or departed spirits, their dancing a combination of celebration and remembrance of the African roots of the movements and music.

Because of the emphasis on these aspects the dances all seemed to be something of a political force and the dancers’ political activists.

In a later sequence one of the dancers shouts out the repeated chant “America is killing me” and this was accompanied by a visceral scream, a dramatic event one would not encounter in a Royal New Zealand Ballet performance and shows the level of the political urgency behind the Lula Washington project.

There was an intensity to many  of the dances with a physically close to that of a Whirling Dervish. But alongside this there were elements of playfulness and whimsy which were all performed with a finesse close to that of classical ballet dancers.

The political or polemical aspects of the dances often felt to be less satisfying of the performance without a dance vocabulary which did not express the angst and anger which was conveyed in the words which accompanied the dance.