Saturday, 9 October 2010
Sydney Dance Company, choreographed by Rafael Bonachela and Emanuel Gat, “New Creations Season 2″
Sydney Dance Company Theatre, 4/5 Hickson Rd, Walsh Bay, Australia, 7 pm
Avoid the crowd – be the chess player, not the chess piece
It’s that time again. Sydney Dance Company time! Barry was my chivalrous (and this time existent) date [CF Mercury is melting…and so is my patience] to the premiere of Rafael Bonachela and Emanuel Gat’s New Creations Season 2 – proving that any company more than 2 is a claustrophobic crowd.
Spanish born choreographer and SDC’s artistic director, Bonachela, personally introduced the premiere of Irony of Fate, Soledad, and Satisfying Musical Moments. He wielded his Catalan Charm over the audience as easily as Amy Hollingsworth would later manipulate her limbs in Irony of Fate. Rafael left the stage and the audience in laughter with the quip: “no pressure” before leaving Hollingsworth to hold it up on her own.
The irony of it ALL – Irony of Fate
Hollingsworth not only could hold it up, she didn’t hold back. Talent dances to music, Hollingsworth embodies so much more and swallowed the music instead of being a coy dinner companion. Hollingsworth’s white limbs moved methodically and rhythmically like a bow against the violinic bout of her simple brown tunic.
The choreography itself was an abrasive juxtaposition of smooth and “scratchy” similar to the harmonics of Ruth Palmer, renowned British violinist, as was the minimalist setting – the simple yellow light ironically filled the bare stage.
Barry said this was the first single contemporary dance performance he had seen. He said what he loved about this genre was the mad flow of a group of dancers. But Barry liked what he saw with Hollingsworth. I prefer a single or duo dance, I find group dance too complicated and ADD busy – more like flash flood than fluidity.
Lonely Souls (without a mate) – Soledad
Bonachela connected with the audience in his introduction and ensured his continuance with Soledad (meaning “solitude” or “loneliness” en Espanol). Richard Cilli and Emily Amisano danced ragged about the murmurs of love to the Spanish murmurs of Mexican singer, Chavela Vargas.
Resembling ragdolls themselves going through the marionette-like (e)motions of a relationship break up (and break down) we all know too well, Cili and Amisano personified puppets on strings orchestrated by the other. The only props on stage were a lamp and wooden chair, a reminder that love lost may simply be love transformed [notably into boring furniture]. Cilli blended into the furniture accordingly [though it is difficult to ignore him!] as Amisano’s grievances took centre stage. The wild trials and trivialities of tender love gone tough was broken by laughter when Amisano (un)ceremoniously dumped her male counterpart, Cilli, to the ground, symbolising both the raw emotion of the dance and strength of the dancers. Barry commented that Soledad perfectly balanced the masculinity and femininity of each dancer, and each dancer took turns at both.
I don’t get no satisfaction – Satisfying Musical Moments
My least favourite of the trio of dances. I was a little disappointed my dance date ended on the mastering of Israeli choreographer Emanuel Gat. It certainly was a moment for me watching a Rent-style musical sponsored by the United Colours of Benetton [or "last year's American Apparel line," said Barry, ever the fashionista.] The dancers’ rainbow costumes [notable mention to the dowdy Little House on the Prairie smock] were certainly a drowning delight for the senses, sending you into a kaleidoscopic stare.
The mish-mash of dancers on stage [which had now opened up to allow the 14 dancers to prance about] reminded me of a bunch of [extremely talented dancer] school kids revelling in an empty classroom a la Kindergarten Cop. Gat’s choreography was flawless – this is just my personal taste and proved to me that to follow the crowd is never a good idea.
As I walked out arm in arm with Barry in the heave of the leaving audience, I was once again reminded to be glad to be one short of an annoying, mashed-up crowd. Best. Date. Ever. When it’s just the 2 of us.
