Posts Tagged ‘when time stops


When Time Stops: Director’s Cut


When Time Stops: Director’s Cut

QPAC & Expressions Dance Company

QPAC Playhouse

May 20–28 2016

Reviewed by Ruth Ridgway

Natalie Weir's When Time Stops. Image by Chris Herzfeld. Image shows EDC full company with Camerata of St John's

The dancers’ commitment and trust bring new energy and vision to the work. They are responsible for bringing it to life. It belongs to them.

Natalie Weir, Artistic Director, Expressions Dance Company


When Time Stops is intense, moving, and beautiful. In a series of impressionistic scenes, a dying woman re-experiences significant events in her life, and says goodbye, finally moving into another realm and accepting her inevitable death.


In this 2016 restaging of When Time Stops, Expressions’ Artistic Director Natalie Weir has made some changes, and has refreshed the work in collaboration with new and former cast members. The original 2013 version was powerful – this one even more so.

The music, composed specifically for this work by Iain Grandage, won a 2014 Helpmann Award for Best Original Score. It creates a dark, rich string sound, with poignant solos for cello and violin.

The live performance by the string players of the Camerata of St John’s is spellbinding. Dressed in black and with bare feet, the twelve musicians play from memory, moving on and offstage and in among the dancers, sometimes enclosing them in lines. Outnumbering the dancers, they are visually striking, but not overpowering.

The overriding impression of the dancers is of fearless strength and unrestrained emotional expression.

Michelle Barnett as the Woman excels in her first leading role with Expressions. It is a demanding performance, physically and emotionally, requiring a great expressive range. Barnett sweeps us along with her, and her final acquiescence, as the light shining on her face dims, is a wrenching moment.

A constant reminder of death and the crossing into another world is the archetypal Ferryman (guest dancer Thomas Gundry Greenfield), who waits to take the woman on her final journey. For much of the time, he sits in the background in his boat, rowing, and facing away from the audience.

Gundry Greenfield’s muscularity, combined with slow, controlled movement, and his watchful, ominous presence, make the Ferryman a dominant figure, at times pulling the Woman towards death, and at other times repelling her or trying to prolong her life.

In the section ‘Time’, guest dancer Xiao Zhiren (Guangdong Modern Dance Company) recreates the solo originally performed by Daryl Brandwood. Flexible and fluid, he is a worthy successor to Brandwood, twisting his body impossibly and recovering effortlessly.

Natalie Weir's When Time Stops. Image by Chris Herzfeld. Image shows Rebecca Hall_low res

The Woman alternates between observing her younger self, played by other dancers, and reliving her own experiences. In ‘First Kiss’, Rebecca Hall and Benjamin Chapman capture the joy and tenderness of a youthful love affair, the movement exultant, with lifts whirling through the air.

Barnett is partnered by guest dancer Jake McLarnon in ‘Knocked Sideways’, the evocation of a violent and dysfunctional relationship, where Barnett is flung and wrenched through acrobatic movement. In this role, McLarnon creates a character with a convincingly cold and threatening presence.

Showing great expressivity and strength, Cloudia Elder features in ‘Scan’, at first pressed against a large panel of light, and then moving away to convey fear, disbelief and despair.

Following ‘Scan’, the Woman relives her reaction to the news about her illness. As if one person can’t contain the enormity of it, McLarnon and Chapman partner Barnett in expressing her rage and grief through uninhibited movement.

The mood changes in the elegiac ‘Last Kiss’, where the Woman farewells a friend (Xiao Zhiren). In this gentler duo, Zhiren and Barnett match each other in expressing a sense of loss, nostalgia, yearning and compassion, taking it in turns to carry each other.

In the ‘Cardiac’ scene, Elise May recreates the Woman’s final struggle for life. The Ferryman, this time in the guise of a rescuer, administers chest compressions to try and resuscitate her. Barnett is watching, as if the Woman’s spirit is already separated from her body.

May is a very powerful performer, completely sublimating movement into emotion. Her sudden coughing and choking in the Woman’s death throes seem incongruous, however, as none of the dancers have previously vocalised in any way. This breaks the intensity of the performance.

Bill Haycock’s design for the show gives an effect of elemental simplicity, with walls of a tilted room, and projected images of clouds, and stars in a night sky. The lighting by David Walters is often muted, and pierced by shafts of light from a tall, narrow doorway. The dancers’ costumes (calf-length dresses for the women, and long pants and loose shirts for the men) are in neutral light shades, apart from Barnett’s, which is black.

After the show and the extended applause, the audience was still so wrapped up in the performance that they stayed in their seats briefly, and moved out of the theatre slowly, talking about the experience. You know it has been a great night in the theatre when this happens.

When Time Stops is on until Saturday 28 May at the Playhouse, Queensland Performing Arts Centre. Book here


Brisbane Festival: Natalie Weir’s When Time Stops


When Time Stops

Brisbane Festival & EDC

QPAC Playhouse

6 September – 14 September 2013


Reviewed by Meredith Walker


The moment a single decision hurtles you into unknown territory…
The moment the water rises…
The moment you choose to stay or go…
The moment that stops time…


From award-winning Australian choreographer, Natalie Weir (where the heart is and R&J), and Expressions Dance Company comes the highly anticipated When Time Stops, an original dance work exploring the simplicity of life-changing moments, whose world premiere is featured as part of the Brisbane Festival.


When Time Stops Image by Dylan Evans


When Time Stops is a performance of poignant moments of melancholy, silence and control, from the ticking of a clock to the rhythm of rowing with invisible oars. Its movement is a celebration of the luxurious, rhythmic qualities of gesture within dance.


It’s an intensely dramatic production, in the way it takes the audience on a voyage of a woman’s last moments of life. Yet, it is Thomas Gundry Greenfield as the ferryman transporting souls safely across the sea, whose presence dominates due to his austere focus and discipline. Elise May too, conveys a controlled contrast of strength and fragility that enhances the tension of a cardiac scene. The ethereal imagery on stage is complemented by an original score by Helpmann Award winner Iain Grandage, played live on stage by members of Queensland’s Chamber Orchestra, Camerata of St John’s.


When Time Stops Image by Dylan Evans


Certainly, this is an ambitious work. In many scenes, the stage is a busy space, as the possibilities of a larger ensemble (not to mention twelve musicians) are explored. The stage and lighting design is enchanting, making use of mirrored surfaces, harsh lighting and alluring shadows. This typifies the juxtapositions at the show’s core, as placid images of rhythmic rowing offer tranquil divergence to its moments of trauma.

Natalie Weir is a creative force whose intuitive aesthetic appreciation is evident through suggested narrative and the exploration of ideas through movement and melody.


In When Time Stops, she has created dance of such intensity that it forces the viewer into the experience, regardless of what their individual interpretation might be. For, as is noted in the show’s program, the content is whatever the audience brings to it. But regardless of whether or not audience appreciation aligns with the artist’s intent, When Time Stops elicits a profound emotional resonance, made all the more hypnotic by the perfection of its performances.


When Time Stops Images by Dylan Evans


Must close September 14th