DANZ QUARTERLY Issue No 12
No 12 – July, August September 2008
Flight ‘08
Southern Ballet Theatre, Christchurch
8-9 March 2008
Reviewed by Nicola Muir
‘Flight ’08’, Christchurch’s show of contemporary dance works, offered an array of talent and skill from nine choreographers. Stylistically the show ranged from newly honed pieces created by emerging choreographers to assured and challenging works from established artists.
Beginning the showcase was emerging talent Julia Giblin’s ‘The Break-Up’. Featuring fellow dance students and set to a voice recording of Art Garfunkel, the piece was jaunty and angular – mirroring the complexity of feeling expressed by Garfunkel about the break up of his band. ‘New Beginnings’ was another sample of young talent from Amy Leigh Broadstock. The use of stage and space was excellent as the three female dancers ricocheted off walls and hung from bars. A good sense of pace was established, as sequential moves were layered throughout the piece.
From more established choreographers there was a variety of work – from serious explorations to light-hearted routines. ‘Learning to Like Your Desperate Self’, by Andrew Shepherd, comprised of a series of three solo episodes linked by the theme of enclosure and release. Working with a restrictive lycra costume and set to music from ‘The The’ and ‘Japan’, Shepherd’s piece explored a sense of inner struggle whilst maintaining grace and flow. Sheryl Robinson’s ‘Wallpaper’ similarly contrasted awkwardness and ease. Using a sofa to resemble comfort, three dancers moved with grace around the furniture whilst one dancer remained isolated – conveying loneliness and fragmentation.
In contrast to the more serious works was Megan Platt’s upbeat piece ‘Pickup /Transfer’. Deploying repeated, simplistic, play-like moves, Platt’s work created a sense of buoyancy between the two female dancers. ‘Untitled’ by Fleur de Thier also shared a sense of humour and joy. Choreographed to Isaac Maye’s theme from ‘Shaft’, the dance reflected the strut and swagger of the music.
Toby Behan’s ‘Study’, performed by Toby Behan and Julia Milsom, was a delicate and refined study of mirrored ballet moves. Dressed in white, the dancers moved with ease and fluidity. Behan’s piece was an example of confident choreography from a well-regarded professional. Another confident excerpt was ‘Let Inside Me Laugh’ choreographed by Fleur de Thier and Lyn Cotton (Jolt). Jolt’s challenging piece about autism focussed on minimal repeated movements, such as counting to five on one hand, to illustrate the tensions felt between an individual trying to conform and society not always appreciating differences. The work acted as a shining example of how integrated dance can show poignancy, meaning, and depth.
Possibly the most stunning piece of the night was Julia Milsom’s ‘Locked’. Danced by Julia Milson and Paul Young, the piece explored the complexities of male/ female relationships. At times crude and shocking in its execution, for instance Young standing on Milsom as she rolled beneath his feet, the work culminated in a sense of reconciliation when Milsom stood on Young’s shoulders – depicting a sense of female blossoming and strength. Revealing both gravitas and beauty, the work was a well-honed piece by an accomplished dancer and flourishing choreographer.
Overall ‘Flight ‘08’ showed promise and in some cases excellence. ‘Flight ‘09’ is a much-anticipated event, which will hopefully encourage a few more choreographers to spread their wings and become fully-fledged.
Nicola Muir
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