Limelight — May 2017

[ DANCE]

88 LIMELIGHT MAY 2017 http://www.limelightmagazine.com.au

OPANORAMA

Panorama

THEATRE · DANCE · VISUAL ART · BOOKS · FILM

TheAustralianBallet’s

contemporaryofferingfor2017isatriplebill,

Faster,thataimstoshowcasethe“intoxicating

physicalpowerofballet”.Indeed,thephysicality

ofthedancerstakescentrestageasweseethem

tackle intricate, challenging and often rapid

choreography across the three pieces.

It’sapleasuretowatchskilledtechnicians

hardatwork.Eachchoreographerpushesthe

dancerstonewlimitsinverydifferentways.

Andwhilethesedifferencesareproblematic

fortheprogrammeasawhole,Fasteroffers

enough reasons to appreciate the sophistication

andallureofcontemporaryballet.

Thetriplebilltakesitstitlefromit’sfirstwork,

Faster,choreographedbyDavidBintleyforthe

2012 London Olympics. Inspired by the Olympic

motto“Faster,Higher,Stronger”,thepiece

reflects the athleticism of sport and the passion it

canevoke.Basketball,fencingandsynchronised

swimming are among the sports represented, at

timesveryliterally,togetherwithmoreabstract

explorations of defeat, injury and sacrifice.

Driving the work is

Australian composer

Matthew Hindson’s

commissioned

score, which seeks

to match the drama

on stage. Music and

choreography most

effectively marry in

the final movement

where the dancers,

decked out in

fluorescent Lycra and

sneakers, perform

arhythmicrunning

sequence based on

the ultimate Olympic

event: the marathon.

Overall,Fasteroffers

some striking imagery.

Butinitsattemptto

represent the spectacle

of elite sport on stage,

Bintley’schoreographysometimesborderson

gimmickry without ever fully embracing the

comedic potential of the work.

Squander and Gloryby Resident

ChoreographerTimHarbourfollows.This

newworkissettotheheavilylayeredstrings

andunrelentingbasslineofMichaelGordon’s

Weather One, which offers little reprieve for

thedancers(oraudience)overits20-minute

duration.Thechoreographymanifestsitselfin

the extremes – hyperextended arm lines, deep

lunges,curvedtorsoswithextendedlegsin

opposition – all danced at great speed.

Harbourisdealingwithexcesshumanenergy,

andthewaysitcanbespentthroughmovement.

Butenergydoesnotalwaysmeanspeed,anda

little more space in the choreography would have

allowedustobetterappreciateitscomplexity.

WorthmentioningisKelvinHo’sstriking

sculptural installation, which seemed to embody

its own energy thanks to the clever lighting

design of Benjamin Cisterne.

Rounding out the triple bill is Wayne

McGregor’sInfra. Taking its cue from

A triple bill showcases

thephysicalpowerof

contemporary ballet

language’spotentialtoshapeourperceptions,

this work is ultimately about human

encounters and the quiet intimacies created

onstage.Thechoreographyisexquisitelyclear

andprecise,harnessingallformsofenergy

to inscribe moments of deep connection that

dissolveasquicklyastheyform.MaxRichter’s

stirring score balances orchestral strings

with electronic sounds and distortion. Of all

three works in the programme,Infrais the

onethatmostsharplyrevealsthethinline

separating the physicality of ballet and

humanemotion.ThisisMcGregor’sgenius

andit’shardnottobeimpressed.

Overall,Fasteroffers three works that

areverydifferentinartisticintentionand

choreographicdirection.Whilespeed

orenergymaybetheloosetheme,the

programme relies on the physical prowess of

itsperformerstofindcohesion.Butmaybe

that’senough.Iftheaimistobeintoxicatedby

thefeatsbeingaccomplishedonstage,Faster

givesusampleopportunitytomarvelatthe

athleticism of contemporary ballet.Rhys Ryan

REVIEW

Faster

Ballet in

the fast lane

Photo © Jeff Busby

Faster

TheAustralianBallet

State Theatre, Arts Centre Melbourne

MARCH 26, 2017

★★★✩