NEW BREED: Sydney Dance Company
Quite a mixed bill in this latest presentation by Sydney Dance , the fourth presentation of NEW BREED – something for everyone yet challenging and provoking .
First up was Bell Jar choreographed and performed by Cass Mortimer Eipper and Nelson Earl . Inspired by Virginia Woolf’s work in some ways it is about confronting one’s inner demons. It was very macho yet intimate , strong and sweaty, very powerful and thrillingly performed with hints of violence hidden below the surface. The two were topless and in dark trousers In some ways it was as if they were two halves of a whole and Earl was trying to escape perhaps.
It was slithery, fast and furious with sinuous arms and a martial arts feel at times. Other sections featured the use of angular elbows, or sculptural silhouette . The music by Marco Cher-Gibard at times crashed and roared. There was an emotionally powerful ending with Earl perhaps dying in Mortimer-Eipeer’s arms.
Next came Petros Treklis’ The Art of Letting Go .” 7 dancers portraying one man and his mind”.It opened with a fantastic solo for Sam Young-Wright looming out of the darkness. The seven wore grey outfits. In some ways it is perhaps reminiscent of Murphy’s ‘Purgatory ‘ . Choreographically the work featured fluid, slinky movement , exciting ensemble work , runs , some striking , dangerous lifts … isolation movements are included , as well as stylized repeated small movements .There is an atmosphere of love and loss . It concludes with more tumultuous slinky , ensemble work.
Tyrone Earl Lrae Robinson’s strange [bio]Curious was first after interval , which he informs us in the program notes is attempting to question the relationship we have with the natural world. I found it coolly clinical yet simultaneously stylised and extremely sensual.
It opens with Chloe Leong like a goddess in the bath , in a heavily stylized and textured leotard , who entices with a slinky , sensual solo ( echoes perhaps of Murphy’s Some Rooms ? ) . Nelson Earl appears and there are slithery pas de deux . The set is of plants mostly in display cases but some on a table and there is much symbolic use of the plants – sniffing , tasting etc . Their tryst is interrupted by Davide Di Giovanni in a black floral mask – a reference perhaps to the serpent and garden of Eden ?
Melanie Lane’s WOOF with its pulsating music by Clark , flickering lights and sculptural lines explores various intellectual and physical ideas , with fine ensemble work by all . While WOOF is perhaps a little long Lane reveals enormous potential. It strives to express ‘ the fantasy of a post-human collective spirit ‘ and has a cast of twelve. Aleisa Jelbart’s delicate ghostly white costumes become dirty by the end because of the blackened hands of the dancers .
There are allusions to Baroque paintings and Bangarra perhaps , with allusions to other past pop dance and art ‘schools’ which gradually develops into a pastiche of contemporary and includes lots of fast , fiddly footwork . Choreographically it also included lots of runs , fast furious jumps and lots of walks and sections on high demi pointe. At times the ensemble writhed sculpturally, at others they split into smaller groups of trios or quartets . Absorbing .
Sydney Dance NEW BREED runs at Carriageworks 30 November – 9 December 2017