DANZ QUARTERLY - No 8 July, August, September 2007

Reviews

Made in New Zealand - Footnote Dance (with Tasdance)
Opera House, Wellington, 27 April 2007
Reviewed by Ann Hunt

In these days of globalisation, ‘made in NZ’ is becoming a rarity. But with Footnote Dance, you get the real thing. This diverse programme features seven new works by New Zealand choreographers, with original music by local musicians in all but one. Guests from Tasmania, Tasdance, perform Raewyn Hill’s work, ‘Mercy: A Dance for the Forgotten’,which opened the programme.

This dark work was inspired by the Port Arthur massacre, but encompasses wider themes.  Danced to the soaring Marian Vespers by Pergolesi, it contains some powerful and disturbing passages. Lyricism gives way to brutality and the use of choreographic repetition, especially in the torture scenes, was almost unbearably effective.

The main problem is its unnecessary length (60 minutes.) Judicious pruning would increase the impact. Aspects, such as the solo with chains, while undoubtedly compelling, seemed excessive, the clanking chains verging on risible.

The choice of music is also problematic. Although extremely beautiful, there is little emotional variation and one longed at times for silence. It dominates the piece to its detriment and finally, is simply too much. 

However, there is still much to admire and be moved by. Tasdance perform with total conviction and skill. Trisha Dunn and her partner, Derrick Amanatidis, are outstanding.  Their pas de deux toward the end is superb.

The highly effective costumes evoke many images from those of captives, torturers and interrogators, to the colonial past. The black semi-corsetted leotards, with long red ribbons attached to wrists like ribbons of blood, worked brilliantly.

Daniel Zika’s lighting, though atmospheric and beautiful, teetered at times toward the impenetrable.

‘Mercy’ deserves further attention. With a more economical approach in terms of length, it could be one of Hill’s best.

Due to the injury of one of the dancers, Malia Johnston’s work, ‘Broken By Design’, was sadly unable to be performed.

Of the five remaining pieces, three were unimpressive. ‘The Chicken or the Lamb?’ (choreography, Tim Fletcher; music, Sam Flynn Scott) contained some excellent dancing from Erynne Gleeson, but finally seemed a pointless exercise.

‘Around the World in Wellington’s’ choreography did not illuminate the delightful stories by immigrant children and needs re-working.

‘Match’ (choreography, Julia Sadler; sound creation, Ben Brady) took superficiality to new heights and did not belong in a professional production.

The two best, ‘Bhakti’ (Michael Parmenter) and ‘Kokowai’ (Moss Patterson) had both been performed in earlier Footnote programmes, but were worth seeing again.

‘Bhakti’(1991), with music by David Parsons, has dated slightly, but is still mesmeric to watch. Sarah Knox impressed here with lovely flowing movement.

The previous performance of ‘Kokowai’ left me feeling underwhelmed. This time it was more impressive. The choreography caught the urgency and momentum of Paddy Free and Richard Nunn’s music well, but the unflattering costumes have gotto go!

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