01
Nov
13

Carmen Sweet

 

Carmen Sweet

Expressions Dance Company & QPAC

QPAC Cremorne Theatre

31 October – 2 November 2013

 

Reviewed by Xanthe Coward

 

Natalie Weir's Carmen Sweet. Pictured EDC's Elise May, Benjamin Chapman. Image by Dylan Evans.

 

Natalie Weir’s Carmen Sweet finishes tomorrow, which is an absolute travesty, because apart from Katherine Lyall-Watson’s Motherland at Metro Arts and QTC’s Design For Living in the Playhouse next door, Carmen Sweet is Brisbane’s other must-see show at the moment, at a time when our theatre seasons are wrapping up and the festive season and its drinks are beginning to take over our evenings. “Come for drinks,” “Just drop in for drinks,” “It’s just drinks,” “We’ll bring the drinks.” Does that sound familiar? Well, at the Cremorne Theatre, for Carmen Sweet, you can take your drinks in with you. I know! The festive season comes early to QPAC! I love the Cremorne in its cabaret configuration, and to get up close to performers who are practically artworks themselves is a joy. So book a table! I’m sure the strength, tone, balance, flexibility and focus of this ensemble, which we see up close from said table, can be attributed not only to the rigorous demands of training and rehearsal, but also to the work being done with the team at West End’s Core Yoga. The secret of course, is to make it all look effortless during performance, and these dancers do just that.

 

The Cremorne space is much more intimate than The J, which is where Poppy and I enjoyed the first version of this show, during the Noosa Long Weekend earlier this year. The second half of a double-bill, and the only dance piece in the program, Carmen Sweet stood out and when I knew it was to return, I locked it in early! Last night, Natalie Weir and her exquisitely talented dancers wowed us again, with a passionate and playful performance of the full version; it features a guest ensemble of young local dancers this time and flows more smoothly from one number to the next, and right to the bittersweet end. Rodion Shchedrin’s Carmen Suite is “quirky and sublime”, the perfect choice for Weir’s reimagining of the famous femme fatale’s tragic tale. Why do we still admire her and want to be her? Because she is FABULOUS! The story has made her so, and the women who play her in Weir’s version are FABULOUS.

 

Natalie Weir's Carmen Sweet. Pictured EDC's Elise May, Michelle Barnett, Jack Ziesing, Riannon McLean. Image by Dylan Evans.

 

All three Carmens are exceptional, presenting contrasting and conflicting aspects and alter egos of the woman. They are Elise May, Michelle Barnett and Rhiannon McLean (sadly, this season is McLean’s last). They are equally matched in skill and strength, and in their fierce commitment to the character, but Elise May is something else, drawing all eyes, regardless of what else is happening on stage and even when she is completely still. She is simply incredible to watch and makes me think, every time I see her, of our Cate. That’s right. Elise May is the Cate Blanchett of Australia’s contemporary dance scene. I wonder how much longer we’ll have her?

 

The girls are joined on stage by beautiful, powerful performers, Daryl Brandwood (he is fate or Carmen’s conscience), Jack Ziesing (the hapless soldier) and Benjamin Chapman (the famous toreador). Brandwood’s entrance and subsequent solo performance particularly, is simply exquisite, and drew gasps from those sitting behind me on opening night, as did the opening motif featuring Elise May on the red-lips-lounge in a superb black gown, designed and created by Bill Haycock. Similarly, the lighting states by Ben Hughes are impressive, evocative, the icing on the cake.

 

Natalie Weir's Carmen Sweet. Pictured EDC's Benjamin Chapman, Riannon McLean, Jack Ziesing. Image by Dylan Evans.

 

And speaking of cake, I keep thinking about what Brisbane continues to offer us, not just at the moment, but year-round, in terms of its theatrical seasons and support of our artists, and dance being no exception; we can have our cake and eat it too. We are missing out on very little, really (I mean, who has the time to see much more?!), thanks to the incredibly talented individuals who choose to create and produce their work in Brisbane. Having said that, because I’VE NEVER BEEN TO MELBOURNE BEFORE Sam and I are off to Melbourne at the end of next week, just for a few days, and we’ll see King Kong and The Beast …I’m expecting to be bemused by one and entertained by the other! Follow us on Instagram and Twitter #xsgoestomelbourne

 

You don’t have to go to Melbourne to see Natalie Weir’s Carmen Sweet. It’s world class contemporary dance happening right here in Brisbane, but only until tomorrow night!

 

 

To find out about becoming a dancer at EDC or to apply for their week-long contemporary dance intensive in January 2014 see expressionsdancecompany.org.au

 

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