Force Majeure’s CULMINATE

Force Majeure on the move. Pics Lucy Parakhina
Force Majeure on the move. Pics Lucy Parakhina

Part of the Score season of sound and movement at Carriageworks as presented by Performance Space, Force Majeure in CULMINATE saw, under the excellent direction of Kate Champion, four strong, powerful works, still regarded as ‘in development’ presented. We were also reminded that this CULMINATE season, in effect, links in with, and alternates with, the ‘Cultivate’ season by the same company. The studio space was mostly just left bare with the mirrors covered.

The opening work, Untitled #14 by Jason Pitt used repeated phrases of movement at various points. Balance and control were most important of the body and of other outside elements like chairs and other props used by the cast. Masks were also worn at certain points.

Sometimes there was a powerful angular explosion of movement in marvelous mini solos which lead to exciting trios at one point. At one point, the cast stood in line and repeated certain individual phrases of movement. A mesmerising work.

The second work, Ghenoa Gela, titled in the name of the choreographer, had a torchy ‘ghost story’ feel, and we heard most of the Rumpelstiltskin fairy tale. Ghoa is particularly interested in the use of storytelling and narrative. This work also included some audience participation.

The piece began with the light from a single lamp and included witty social comment, speech and angular movements similar to Tutting. Plenty of special effects lighting were well used, simulating a plane landing, the re-enactment of a pinball game, and a bear face. It ended with rhythm and repetition of dancing lights, shades of Graeme Murphy’s ‘Free Radicals’.

The third work, How Did I Get Here. was a nifty, delightful delicately incisive solo by guest artist Ryuichi Fujimura, a Culminate alumni. To the music of Frank Sinatra he entered, stylishly yet casually dressed and barefoot, carrying a martini. .Slo- mo moves were contrasted with smoothly creamy frenetic ones and plenty of floorwork. It was gently ironic and self mocking, incisive and catty, and ended with an allusion to Lloyd Newson’s The Cost of Living.

The final work, Victoria Hunt, again titled in the name of the choreographer, had the biggest cast. The piece had some possible similarities to Mau’s work Stones in her Mouth. Most of it was quite dark and gloomy and rather unrelenting.

With this piece, you could feel the Australian outback setting, the heat, and the longing for rain to break the drought. A corridor of light at one point reveals farmers wives joyously dancing in frenetic, angular movements, in their long skirts. At other points the cast are like dead trees, dust or wind. There is however an element of hope with the flowering portrayed and the woman giving birth.

Four very different, most exciting, challenging works. Running time an hour and ten minutes (approx) no interval

CULMAINATE by Force Majeure ran as part of the Score Festival of light and movement runs at Carriage works between the 13th and 16th August.