Propel (the next step)
Expressions Dance Company & Queensland Theatre Company
Bille Brown Studio
28th February – 2nd March 2013
Reviewed by Xanthe Coward
Featuring: Michelle Barnett, Benjamin Chapman, Elise May, Rhiannon McLean, Robert McMillan, Samantha Mitchell & Jack Ziesing
Expressions Dance Company and Queensland Theatre Company have come together for this project, in support of two extraordinarily talented choreographers, Liesel Zink and Lucas Jervies, and the continuing support of contemporary dance in Queensland.
Choreographer: Liesel Zink
synapse – a junction between two nerve cells, consisting of a minute gap across which impulses pass.
To communicate without speaking, to connect without touch, to disconnect with a look…
Liesel Zink explores the concept of social normality, and how we act, react and interact with each other. Zink is a dance artist driven to create change, and through her investigations of the body in space she is doing just that. Zink is a key figure in the changes we see in the Australian contemporary dance scene. With the landscape continually changing, with massive shifts happening across the globe, it’s clear that a great deal of the seismic activity is happening right here on our doorstep, thanks to Zink and her contemporaries.
In the first half of this double bill, Zink explores connections and interactions between people, their energy, and their emotions. There is no sound to start, except for the dancers’ canvas shoes squeaking across the floor (later, a perfectly clunky soundscape by Mike Willmett kicks in). The floor features two white landing strips running across the width of the stage. One of the strips can be broken into irregular chunks and strewn chaotically across the space, eerily resembling a melting, cracking, creaking path across a frozen lake, its shards of white ice danced gingerly upon and around. This gives rise to stunningly effective shaky movement, including variations on utkatasana, hinted at earlier.
This piece is perfectly paced, and beautifully shaped to give us giggles at the outset and a slight holding-of-the-breath effect in its final moments. To start, the company sprints into the space and throughout, we observe individuals breaking free of the constraints of the group, the group sometimes following, sometimes not. It’s a study in the way children play, and less obviously, the way our adult interactions are not so far removed from those we enjoyed – or didn’t – at school. Is the individual stepping outside of the group a leader or a loser?
QTC’s Resident Lighting Designer Ben Hughes brings to this double bill, and to this half particularly, soft side lighting, and bright white specials to highlight relationships; twisting and turning bodies escaping each other’s grasp, sliding down a body, then a chair, to finally rest on the floor in odd, angular, rest-less poses, confronting us with variations on that extreme yoga class you wish you could psyche up to try again, and challenging our notions of the traditional pas de deux. In fact, there is nothing traditional happening here, but instead, a new tradition being established, of intense exploration of pairings and groupings, the body moving on the energy and impulse that has inspired Zink, rather than a set list of emotions informing the body’s gesture and proximity to the partner.
Apples and Eve
Choreographer: Lucas Jervies
In the beginning… The universe created us, and we created God. And it was good? Apples and Eve is a retelling of the greatest story ever told, and the Bible too.
An Affiliate Director with Griffin Theatre Company, and creating works in 2013 for EDC and Queensland Ballet, Lucas Jervies has a distinct brand of humour and he’s not afraid to unleash it upon Brisbane audiences.
You might think that this piece – the second half of the double bill – is a lovely, simple narrative, which pays tribute to the book of Genesis and the Christian story of creation, however; if you were thinking along those lines you would be very wrong. Instead, Apples and Eve exposes themes including misogyny, consumerism, the destruction of the planet, fear and retribution, and urges us to consider the notion of “Eve shaming”, or “What effects on modern day women can we attribute to the misogyny of the Bible”? My six year old doesn’t do Religious Education (I don’t believe there’s a place in our state schools for the teachings of just one denomination), and I gave her a brief, whispered version of the story of Adam and Eve so she wouldn’t be completely lost, but I needn’t have because the story itself, told via a straightforward, playful narrative, was extremely clear.
Using a combination of dance, stylised movement (early on we see lots of caveman choreography, consisting of wonderfully primitive square shapes) and great guttural vocal work, this piece is another exploration, but this time it is of objectification, control, modesty, sexual double standards and extreme violence. The mood stays playful for long enough to make us feel a certain amount of discomfort and dismay as it changes gradually from ecstatic (orgasmic) exclamations of YUM and YES to a series of physical challenges and mini battles. It’s a bit like marriage. The tension builds as each opponent grows weaker and is defeated. There can be only one winner. It’s a bit like a series of marriages…or a series of wrestling bouts…or a series of date rapes. Disturbing. But as confronting as this gets, the dose of humour that comes before and after this scene is decent enough to get us through. If you didn’t want to think too much about the issues being thrown in your face, I guess you might duck and weave a little, and just enjoy the show, but to do so without considering the questions posed would be to miss an extraordinary level of depth to this work.
Multi-talented Designer, Libby McDonnell, has had enormous fun with this production, putting the dancers in sequined booty pants (pink for girls, blue for boys), and God and the Angels in white tutus invoking the spirit of those iconic swans. Mother Earth is resplendent in a gown decorated with red apples – they must number nearly sixty – perfectly offsetting the dozens of red apples that tumble and roll at one point across the stage. I wonder if they are organic? Surely not? Imagine the additional cost of production! At least seven apples are eaten during the show, though none are offered to the audience, as was the trend recently at WTF; I do hope none are wasted!
Dance fans, and our students and teachers of dance must already keep up with EDC. I hope that our actors and directors have had the chance to catch this double bill too (Propel closes tonight!). These pieces, created by Liesel Zink and Lucas Jervies, make such exciting dramatic work and serve as the perfect precursor to upcoming “dance theatre” productions.
I love my six year old’s reviews. Sometimes I wish I were as succinct as she! Poppy said Propel was, “Awesome. The girls were much more stronger than I thought. I liked the chair work, when somebody actually did a handstand on a chair. The entry was good, they all came out running. It was very funny. And I liked the bit when the snake put on the big apple dress but the rest of that one was a bit weird. It was my favourite as in nice costumes. I believe the angels made a special spell to make seven sisters and seven brothers. Then one of the girls fell in love with one of the boys and they had babies, and they had babies, and they had babies…until us! It was still an interesting story.”
ummm…….not saying we’ve watched this recently.