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News, Performing arts, Reviews

A mixed bag of Short Cuts

Review: STRUT dance “Short Cuts, Program A” ·
King Street Arts Centre, June 14 ·
Review by Varnya Bromilow ·

If you’re not familiar with contemporary dance, I’d recommend the hot bath strategy – one toe at a time until you’re fully in.  STRUT dance’s “Short Cuts” is an annual program of curated short works that presents an easy way to get better acquainted with this often misunderstood discipline.  It’s important to note that these works are essentially in draft form and created in a very short amount of time – you’re getting raw ideas, some of which warrant further exploration, some of which do not.

Last Thursday an enthusiastic throng packed into one of the studios at King Street Arts Centre to check out the fare on offer.  It was an unusually lengthy program, compared to the traditional Short Cuts hour-long show and comprised nine pieces.  The first, Dance, Quiet Riot was choreographed by Emma Fishwick, an associate artist with CO3 Australia.  Fishwick is a multidisciplinary artist with a strong visual sense on effective display here.  Two dancers performed elegant, synchronized phrases in the centre of the square stage, while four others formed a sombre perimeter.  All were wreathed in sheer fabric – a bold choice for an all-female work.  Can the work transcend the spectacle of the naked form or is it more of a distraction?  The dance was executed with a gorgeous, rolling grace, but if I’m perfectly honest, I felt a bit ashamed of my inability not to be distracted by so many naked breasts.  But even my shortcomings as a viewer could not detract from the ability showcased – Fishwick has a clear vision, refreshing in its confidence.

Another highlight of the program was a trio of brief works curated by a key choreographer of the Perth independent scene, Bernadette Lewis.  The first, Miss Where are My Pills, was choreographed and performed by Natalie Allen with Lewis also performing.  Allen, the recipient of a bagful of awards, is an insane dancer to watch.  Her combination of precision, energy and frenzied bustle is just extraordinary.  This work was no exception and the complementary style of Lewis provided an additional measure of inspired looseness – Lewis has a gift for looking like she’s having so much fun while she dances.

Following this was my choice of the evening – Miss Fury choreographed by Laura Boynes and performed by the choreographer and Lewis.  I’m not sure whether it’s the subversion of the “seriousness” of contemporary dance, or if it’s just because I love a good laugh, but I am a total sucker for dance with a sense of humour.  Boynes and Lewis stroll onstage, mouthing pre-recorded words of a conversation that tackles tropes of modern feminism with a rare hilarity.  Boynes is creating a strong reputation for herself as a maker of politically charged art, yet she has a lightness of touch that is truly inspired.  The duo slip into dance – inventive hand movement here warrants special note – and as strains from Puccini’s Madame Butterfly swell, together they seal a perfect package of art and humour cut through with politics.

Not every idea was a winner.  Joshua Pether’s Water Stories was a tentative work, big on ideas but scant on the dance.  And while there was a lot of heart in Ellen-Hope Thomson’s Moth, the execution missed the mark.  Conversely, The Sessions provided another blistering display of Natalie Allen’s talents and when coupled with Samuel Harnett-Welk’s technical prowess, one could only marvel at the skill evident, if not anything resembling meaning.

At the conclusion of the program, STRUT’s Paul Selwyn Norton asked the audience to vote for which work deserved the extra time and funding to be further developed.  With half the slate of works worthy of further exploration, Selwyn Norton and his team are spoiled for choice – and that was only Thursday night.  We’ll see the results of the voting as part of the upcoming MoveMe Festival later in the year.

For more info head to:

Photo: Simon Pynt.

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White Spirit
Dance, News, Performing arts, Reviews

On the outside, looking in

Perth Festival review: Ensemble Al Nabolsy & the Whirling Dervishes of Damascus White Spirit ·
His Majesty’s Theatre, 3 March ·
Review by Louisa Wales ·

It’s not every day that a well-heeled audience at Perth’s His Majesty’s Theatre gets itself into a clapping, rhythmic frenzy jamming with a bunch of Sufi musicians and whirling dervish dancers.

But when Perth Festival’s sold-out two night exclusive event White Spirit came to town last Friday and Saturday evenings, the rapture was catching.

The six musicians, three dancers (from Konya, Turkey) and Tunisian street artist Shoof created in their 80 minute set an utterly transporting and highly poetic portal into the mysterious and yearning world of the Sufi faith.  Combining songs of praise, Sufi poems and devotional invocations with the calligraphic live painting of Shoof and the vertigo-defying incessant spinning of the Whirling Dervishes, White Spirit was an exquisitely beautiful window onto a world both ancient and contemporary.

Hailing from Damascus in war-ravaged Syria, Ensemble Al Nabolsy – led by Noureddine Khourchid, the son of a Syrian Sufi sheik – evoked both a time and place, and a spiritual state, so far from that of the audience that at times it felt as though we were taking part in something quite voyeuristic.

The act of presenting Middle Eastern mysticism and spirituality as art and performance to viewers from the West led to some uncomfortable tensions in the experience.  Was the audience just “othering” the heck out of these people, exoticising their authentic religious beliefs and practices?  And why were the Sufi singers, dancers and artist presenting their practices and religious beliefs as a travelling show anyway?

Beneath the captivating, thrilling spectacle, it was all – in short – rather loaded.  And yet, by the end, White Spirit’s nominal exoticism and our consuming voyeurism were – albeit briefly – broken down as the audience summoned the artists back for a spontaneous encore, and then clapped themselves into an escalating frenzy of abandonment.

Then the lights went on and some in the audience looked a bit sheepish.  The realisation hit home that however sensually engaging this spectacle had just been – the mystical music, the trance-like dancing, the indecipherable exquisite white calligraphy painted by Shoof – we were still on the outside of the faith and mystical experience they were all evoking.

While acknowledging the indisputable beauty of both White Spirit’s components and its totality, the problematic nature of commodifying a spirituality and its devotion left this reviewer wondering if next year festival goers will be packing His Maj to the brim to hear Hillsong Church – and if we do, will we clap ourselves into a devotional frenzy then too?

Photo: Cyril Zannettacci


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Super attractor

Propelling its dancers into a state of ecstatic physical abandonment, Attractor has been a hit at festivals in the Eastern states. Ahead of the work’s Perth Festival season, Nina Levy spoke to co-director and co-choreographer Gideon Obarzanek to find out more.

Gideon Obarzanek
“Attractor really blurs the line between professional and amateur, between performer and audience.”  Gideon Obarzanek

The creative team behind the dance work Attractor is something of a super group. Directed and choreographed by two of Australia’s best-loved dance makers, Gideon Obarzanek and Lucy Guerin, and presented by two renowned Australian dance companies, Dancenorth and Lucy Guerin Inc, the work is also a collaboration with Indonesian music duo Senyawa, who fuse traditional folk music with sounds borrowed from heavy metal bands.

With such a stellar creative line-up, perhaps it’s no surprise that Attractor, a contemporary interpretation of the Javanese tradition of entering trance through dance and music, has garnered praise from audiences and critics alike, taking out the 2017 Helpmann Awards for Best Choreography and Best Dance Production.

Attractor really blurs the line between professional and amateur, between performer and audience,” muses Gideon Obarzenek, as he reflects on the work’s success. 
“Senyawa play live and they’re really charismatic, powerful performers. So really it’s also a music concert. And then the virtuosity of the Dancenorth dancers, the power that they have in their bodies, combined with the accuracy, is very attractive, people are drawn to it… and the relationship between the music and the movement works so well.”

Attractor’s popularity with both audiences and critics is due to its clarity of purpose, Obarzanek believes. “From a popular perspective, the dance is very connected to the music, and the music to the dance. That relationship is very straightforward… it’s not some kind of cryptic work,” he reflects. “And yet it is quite sophisticated… it pushes itself hard, physically and musically, and becomes quite impressive in that way.”

The dance is very connected to the music, and the music to the dance. That relationship is very straightforward… it’s not some kind of cryptic work. And yet it is quite sophisticated… it pushes itself hard, physically and musically.

The concept behind Attractor is about experiential art rather than aesthetics. “The performers are not creating beautiful shapes in space or aesthetic compositions,” explains Obarzanek. “They’re getting into a kind of movement pattern, which repeats and goes in circles. It draws the audience in rather than performing out to the audience. And then people begin to join that, from the audience.”

For Obarzanek, who spent his early childhood on a kibbutz in Israel, the motivation to make this kind of work came from a desire to return to his artistic roots in Israeli folk dance. “After many years of working with professional dancers and making highly virtuosic dance, I chose to go back to my early influences in dance. I wanted to make this work which was more like folk dancing and participating, and being in something rather than being outside and looking in,” he elaborates. “When [Lucy Guerin and I] listened to the music of Senyawa, which was very much influenced by trance rituals in Indonesia, this idea of submitting to some state of otherness by doing something over and over influenced us a great deal.”

“Senyawa play live and they’re really charismatic, powerful performers. So really it’s also a music concert. And then the virtuosity of the Dancenorth dancers, the power that they have in their bodies, combined with the accuracy, is very attractive.” Photo: Gregory Lorenzutti.

And how did the group of artistic dynamos come together?

“The background is really quite simple,” replies Obarzanek. “Kyle Page had only been director of Dancenorth for a short while when he asked Lucy [Guerin] and I if we would each make a piece for Dancenorth. We suggested making a single work together. I had been working indirectly with Senyawa in Indonesia. They had taken me on a journey to see some traditional dance and music ritual in far-East Java. We had been discussing the idea of doing a contemporary, secular ritual based on these traditional forms that interested us.”

Obarzanek took this idea back to Guerin who was keen. “Then we proposed a larger work than the resources that Dancenorth had at the time, which was a limited number of dancers,” he continues. “So Lucy suggested a co-production with her company [Lucy Guerin Inc] and we supplemented Dancenorth’s cast with a few other dancers. So it’s a larger cast than Dancenorth would normally have.”

I usually hate audience participation and so does Lucy. We designed it from the perspective of people who don’t like audience participation.

While the ingredients were all there in terms of creative talent, there was something else at play when it came to making to work, says Obarzanek. “I find, with collaborations, that a lot of it is the people but a big part of it is luck as well. We happened to work well together. We had the right balance of respect and interrogation, and knowing when to work together, and when people needed to go off on their own trajectory and make things that were not collaborative to bring back as a proposal to add to the work.”

One of the more unusual aspects of Attractor is that, just over half way through the work, the dancers are joined on stage by 20 audience members. While the volunteers are not rehearsed in advance, arriving just an hour before the show to receive their instructions, this section took a lot of studio time to perfect, says Obarzanek. “We spent between and third and half of the creative development time working on that aspect of the show. During the show there are 10 professionals on stage and then, just after half way through, 20 audience members join the performance. They’ve never seen the show and they get directed by Amber Haines, via these inner ear monitors. It works really well now but it took a lot of test groups for us to get the right instructions to get the outcomes that worked for the participants and worked for the audience. So that was a big part of the development of the work.”

The feedback from participants has been extremely positive, says Obarzanek, perhaps because both Obarzanek and Guerin are not normally fans of audience participation. “I usually hate audience participation and so does Lucy,” says Obarzanek with a laugh. “We designed it from the perspective of people who don’t like audience participation. So I think we’ve made something… you never have to express yourself or ‘perform’. The instructions are very literal. They’re straightforward. They’re not hugely creative. The participants appreciate it. They don’t have to think of anything to do. Once you’re being guided along, you give over to that very quickly and easily. And it’s fun… and it’s busy. You’re so busy doing the show that I don’t know how much time you really have to reflect that you’re on stage with these dancers.”

Attractor plays the Heath Ledger Theatre, 8-10 February, as part of Perth Festival.

Pictured top: “The dancers are getting into a kind of movement pattern, which repeats and goes in circles. It draws the audience in rather than performing out to the audience.” Photo: Gus Kemp.

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Dancing at any age

Perth’s newest dance ensemble is rewriting the rules about who gets to perform, discovers Nina Levy.

How old do you expect you’ll be when you retire? 60? 65? 70?

For professional dancers, a final bow is usually taken somewhere between the ages of 30 and 40. There are several common reasons for retirement from performing but injury is a common one – the physical demands of the choreography wear the body down. Family can be another factor – the schedule of a dancer isn’t exactly conducive to parenting, with evening and weekend shows, and time away from home for those lucky enough to tour.

There is also the perception that dancers should retire before the age of 40, that the art-form is best suited to young bodies. Often there is pressure on dancers to make the move into teaching, choreography… or indeed, into a different profession altogether.

But should dancers over 40 be heard but not seen? Back in 2000, the Perth International Arts Festival brought over Netherlands Dance Theatre’s main company, as well as the now defunct NDT III, a company for dancers over 40. As a dancer in my third year of full-time training, I can remember my surprise in discovering that, actually, I preferred the older group to the main company. Their program was quirkier, livelier, more engaging… and the dancers were fantastic. I didn’t feel like I was watching “old” dancers. I just felt like I was watching exceptional dancers.

Phillippa Clarke and Julie Doyle rehearsing for “Unstoppable”. Photo: Damian Doyle.

Since then I have had the pleasure of seeing the odd “older” dancer, here or there (Daryl Brandwood’s 2011 solo show “Helix” was a notable standout, more recently Stefan Karlsson’s short work in 2017’s “In Situ” was another) but it wasn’t until STRUT dance staged Jean-Claude Gallotta’s “Trois Generations” in 2013 that Perth had the opportunity, once more, to see a sizeable group of dancers over 40 in action. The premise of “Trois Generations” is that three generations of dancers perform the same dance score; first children, then young adults and lastly adults over 40.

And boy did those “older” dancers impress. Here’s an excerpt from my review for The West Australian newspaper:

As Generation Trois, aged 40-65, takes to the stage, there is a sense of peace. The dancers catch one another’s eyes and smile knowingly, as if they realise that “this too shall pass” but they’re going to have a damn good time anyway.
Watching this cast, I can’t help but wonder why contemporary dance is the domain of the (relatively) young.
These “older” performers have a beauty that comes of age and experience . . . but it’s not just about the non-physical.
Watching Liz Cornish slice the air, Ronnie Van den Bergh jete lithely, Michael Whaites’s joyful, springy jumps, I am struck by the realisation that, quite simply, these dancers are all beautiful movers.
As the oldest generation turned their heads in preparation to leave the stage, I felt my throat tighten and my eyes fill.

So when I heard that a group of older dancers, a number of whom were part of “Trois Generations”, had formed a company, I was excited. The company is called Momentum and will be presenting it’s first program, a triple bill entitled “Unstoppable”, this Saturday 5 August. The group includes the aforementioned ex-West Australian Ballet principal Ronnie Van der Bergh and Liz Cornish, as well as Julie Doyle and Phillippa Clarke, both of whom danced in “Trois Generations”. The group is not solely made up of ex-professional dancers though, explains Cornish, when I catch up with her about a month from Momentum’s debut. “It’s also people who have danced in the past, and they might have given up for ten years or so, but they’ve come back.”

It was “Trois Generations” that was the catalyst for the formation of Momentum, says Cornish. “When some of us got to hop around again, we all went, ‘This is fun. We should make another opportunity.’ So we decided, we’ll rehearse three hours on a Sunday. If you want to be involved you’ve got to pay. We all pay a set amount of money and that money goes towards commissioning choreographers, paying for the space and the occasional Tim-Tam.”

Jacqui Otago & Mike Makossa (standing) and Claire Sullivan (lying down) rehearsing for “Unstoppable”. Photo: Damian Doyle.

The three works on the “Unstoppable” program are created by Daryl Brandwood, Phillippa Clarke and Israeli choreographer Jin Plotkin. Each is about 15 minutes long and time has been of the essence, says Cornish. “Each choreographer has had about ten weeks with us… which isn’t very much, when you break it down… half an hour for warm up, leaves two and a half hours a week… so that’s about 25 hours per piece… it’s not even a week’s worth of rehearsal.”

Another challenge for the dancers is that, while they’re old enough to be retirees from full-time performance, they’re mostly not retirement age. “We all have other full-time jobs, so the brain’s not going through the choreography every night. So you come back to the next week’s rehearsal and you go… oh yeah!” Cornish laughs. “And because of the age we are massive things happen in people’s lives. During the rehearsal period for Phillippa’s work, I think three people had parents or parents-in-law die, and in the work before that someone became a grandparent. Most people are dealing with children of some description and some of those are quite small still.”

Nonetheless, the program has come together. Plotkin’s work, A Memo, is influenced by her training in Ohad Naharin’s Gaga technique. Clarke’s In the Blood is based on the dancer’s own movement and memories. Brandwood’s Subsided Vortices is described as a “pure movement piece”, created from images of nature.

Like me, Cornish vividly recalls seeing NDT III back in 2000 and says it changed her views about older dancers. “When NDT III came, that was eye-opening because they were gorgeous and the choreography was suited to them,” she reflects. “I think that’s the trick, finding choreography that actually fits the bodies that are in front of you.”

And me? I’m just looking forward to seeing some of my long-time favourite dancers strutting their stuff again.

You can catch Momentum performing “Unstoppable” at the Redmond Theatre, Prendiville Catholic College at 2pm, Saturday August 5 2017.

*** Update 2019! Catch Momentum performing “Unmanned” at the Redmond Theatre, Prendiville Catholic College, June 8-9.

Pictured top: Julie Doyle rehearsing for “Unstoppable”. Photo: Damian Doyle.

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Dance, Features, Music, News, Performing arts, Visual arts

Twist, turns and music: Jenny Simpson (Part I)

This year Jenny Simpson is celebrating a decade at the helm of AWESOME Arts, an organisation dedicated to making incredible arts experiences for WA’s children. Nina Levy caught up with Simpson for a chat about childhood, career paths and what makes a great festival show.

With a splash of colour in her hair and a ready laugh, Jenny Simpson brightens any room. Gregarious,  hilarious, and passionate about the arts, it’s hard to imagine a person better suited to the role of chief executive officer of of WA’s AWESOME Arts. The organisation presents the AWESOME International Arts Festival for Bright Young Things, an annual feast of theatre, dance, music, film and activities designed for children aged 0-12 years and their families, and the Creative Challenge, a year-round program bringing arts experiences to children in regional and remote WA. Like Simpson, AWESOME is recognisable for its colour, joyfulness and engagement with the Perth community.

Simpson’s love of the arts began early in life. Born in Bowral, NSW, she had an idyllic rural childhood. “I grew up running around the paddocks,” she reminisces. “It was a lovely childhood. My family was very musical. I grew up with lots of bonfires, playing music, having musicians come and stay. My parents were involved in running a musical festival. I used to be on the door, ripping tickets. I performed in the festival too. I used to sing – I still sing.

“Community was big for us as well,” she adds. “One of the things that I did as a child and do to this today is performing in nursing homes. Mum would play the accordion and we’d put on a show. I learned a great deal of respect for older people.”

Simpson’s happy childhood was shattered, however, when she was 15. “My mum died. That was a shock. She was young and I was young. My world fell apart.” Looking back, Simpson believes that music played a crucial role in helping her through the difficult years that followed. “I had a very troubled teenage life,” she reflects. “My father wasn’t a particularly teenage-girl friendly father. I found myself playing my guitar and singing in my bedroom, for hours at a time. That’s what got me through.”

Barrowland Ballet’s ‘Tiger Tale’, performed at the AWESOME International Arts Festival for Bright Young Things in 2015. Photo: James Campbell.

After finishing school and completing a degree in history, psychology and English literature, and Simpson’s early career took a turn that may come as a surprise to those who know her now. “I was all set to head to Latrobe to do a graduate diploma in secondary education,” she says. “I withdrew the night before. The prospect of standing in front of children and presuming to know more than they did terrified me. I ended up being a commodity trader in Melbourne. I drove a red car, I had shoulder pads, I did deals,” she dead pans. “At the same time I played in bands.”

Simpson’s day-job saw her visit WA, precipitating her first move West in 1995. “I loved the place, I loved the vibe of Fremantle at that time. Some of the best musicians and artists I knew were from WA,” she recalls. “I figured there was something in the water and I probably needed to drink more of that water.”

Although Simpson remained engaged with music, becoming the co-conductor of the One Voice choir in Fremantle, by day she was still working in the corporate world, this time at Schweppes. “Gee, I was really good at selling soft drinks,” she exclaims with a grin. “And then I was coming up to 30 – I think a lot of women, when they get to a certain age, start to re-evaluate what they’re here for – and it hit me like a bolt from the blue that maybe being really good at selling soft drinks was not going to be something I was going to be proud of at end of my days. Coming from that background of believing in community and doing good things like my parents used to do, I had a bit of a crisis about that.

“I’d always had this interest in finding audiences for good artists. In my spare time I used to tour people, for fun. So when I was having this existential crisis about what to do with my life and I saw a job for touring manager at Country Arts WA come up, I thought. ‘Touring! I do that!’”

In spite of the fact that she was the self-described “wild card” in the interview process, Simpson got the job and she never looked back. From Country Arts she went on to direct the National Folk Festival in Canberra. Then Arts Queensland needed an interim director at Brisbane Multicultural Arts Centre, where she was offered the position of director… but Simpson’s heart belonged to WA. “Fremantle was calling me home,” she remembers. “I felt it in my gut. Even though I wasn’t born here this place had imprinted on to me. The light here is different, the landscape is different. I regard it as home, I just feel it in my bones.”

‘The Secret Life of Suitcases’ by Ailie Cohen Puppets, from the 2015 AWESOME Festival. Photo: James Campbell.

Simpson didn’t have a job lined up but after a short stint at Kulcha Multicultural Arts, she landed the position of general manager at AWESOME. Initially, she recalls, she wasn’t that excited about the role. “For the first couple of years I felt a bit detached. I was the general manager then, so someone else was curating the program… And then I started to see the impact of what we were doing on children. I started to realise that actually this is the future and we’re getting in at ground level and making a better community. The sense of purpose started to burn in me.”

Simpson believes that AWESOME’s role goes well beyond exposing children to the arts. “I’ve realised that if you have something inside you that’s creative, that actually becomes a spring from which you can draw when the external world gets tough,” she explains. “It becomes about having an internal locus of control, as they say in therapy. It’s not letting the world control you, but having something strong inside you.

“I feel what we do, at AWESOME, is about giving children that inner courage through having creative energy. I want kids to be in their rooms, drawing, they can make a film on an iPad, they can dance, whatever… but I want them to have something they’re passionate about, that helps them engage with others and create networks, friendships. I think that supports problem solving, communication and development.

I think every human being needs that… especially children.”

This is part I of Nina Levy’s interview with Jenny Simpson. Read part II here.


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Calendar, Dance, October, Performing arts

Fundraiser: West Australian Ballet’s The Gatsby Gala

7 October 2017 @ On the Point, East Perth

A little party ain’t never hurt nobody!

We hope you can join us on Saturday 7 October for WAB’s biennial fundraising event: West Australian Ballet Ball.

This year’s spectacular event will be held at Perth’s revolutionary water front entertainment destination, “On The Point”. One of the finest venues Perth has to offer, with picturesque surroundings and state of the art facilities, located on the Perth City foreshore.

Tickets will go on sale Monday 28 August. For any enquiries please email

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Calendar, Dance, Performing arts, September

Dance: West Australian Ballet’s The Great Gatsby

14 – 30 September 2017 @ His Majesty’s Theatre –

In Northern Ballet’s The Great Gatsby, discover the heady, indulgent days of New York’s Long Island during the 1920s as West Australian Ballet brings F. Scott Fitzgerald’s classic novel to the stage.

Nick Carraway comes to know his infamous neighbour Jay Gatsby – a mysterious millionaire with a secret past and a penchant for lavish parties and beautiful women. As the sparkling façade of Gatsby’s world begins to slip, Carraway comes to see the loneliness, obsession and tragedy that lies beneath.

World-renowned choreographer, David Nixon OBE (artistic director of Northern Ballet), will bring The Great Gatsby to Australian stages for the very first time. This smooth and sultry interpretation of F. Scott Fitzgerald’s classic tale will transport you straight into a hedonistic haze of 1920’s New York.
Music by Academy Award nominated and BAFTA winning composer Sir Richard Rodney Bennett CBE (Four Weddings and a Funeral, Murder on the Orient Express), will be played live by West Australian Symphony Orchestra.

David Nixon reflects that Gatsby isn’t just about the wild and glamourous parties. “There will always be some kind of relevance to The Great Gatsby. It’s about basic things, like ‘the pursuit of happiness’ and what that is. We all ask ourselves ‘What is happiness?’, ‘What is success?’ and ‘What are you willing to do to achieve your dreams?’, and that’s basically what Gatsby represents. He is someone who did really bad things to achieve a dream that was beautiful.”

As The Great Gatsby steps into the spotlight, don’t miss your opportunity to see what promises to be one of the most stylish adaptations of this classic literary work.

Approximate running time 2 hours 10 minutes

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Photo: Robert Johnson

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Calendar, Dance, Performing arts, September


7 – 9 Sept: 7.30pm, 12 – 16 Sept: 7.30pm, 8, 12 & 14 Sept: 11am (school matinees), 13 Sept: 1pm, @ Heath Ledger Theatre, State Theatre Centre of WA.
Presented by Co3.

In situations of extreme stress, who would you turn to? In a tumultuous time, communities come together to support and grow.

THE ZONE is an explosive dance work, created by Raewyn Hill, that explores the notion of community forming in extraordinary circumstances. Profound yet playful, the performance chronicles the creation of community told through Hill’s stunning movement language.

Artistic director and choreographer Raewyn Hill will be joined again by music collaborator Eden Mulholland to play the original live score, and world renowned Japanese architect Satoshi Okada will join the creative team as set designer.

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August, Calendar, Dance, Performing arts

Dance: Terror Incognita

August 18 & 19 @ State Theatre Underground.
Presented by STRUT Dance – Andrew Morrish, Humphrey Bower and Guests.

Giants of the performance world Andrew Morrish and Humphrey Bower storm the stage with an evening of improvisational mayhem.

Joining them are guests from STRUT’s Collaboration Workshop who have for the last 10 days been interrogating the space where choreography collides with text.

Where: State Theatre Underground
When: August 18 & 19 – 7:00 pm
Duration: 75 minutes,
Price: $10 donation on the door
Parking: Pier St / Roe St

Performers: Michelle Aitken, Andrew Batt-Rawden, Humphrey Bower, Jude Bunn, Tim Green, Storm Helmore, Kynan Hughes, Anneliese Kirk, Ryan Marano, Andrew Morrish, Sally Richardson, Daidy Sanders, Eliza Sanders, Isabella Stone, Phoebe Sullivan, Mararo Wangai

STRUT’s Collaboration Program continues to create ongoing opportunities for cross artform inquiry and is supported by the State Theatre Centre of WA. STRUT thanks the State Theatre staff and technical crew.

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Photo: Tuva Nordeliusii

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August, Calendar, Dance

Dance: Unstoppable

5 August @ The Redmond Theatre, Prendiville Catholic College.
Presented by Momentum Dance.

Momentum Dance is unstoppable… presenting an ambitious triple bill of choreography for life-long dancers. Featuring commissioned works by Daryl Brandwood, Phillippa Clarke and Israeli choreographer Jin Plotkin.

Ronnie van den Bergh & Mike Makossa. Photo: Damian Doyle

Poetic and visually stirring, the choreography explores the sensations of hanging over the edge, muscle memories and the tender relationship between mother and child.

Momentum Dance challenges what it means to be an older dancer. We are a self-funded project, creating unique opportunities for mature performers and choreographers.

Momentum Dance acknowledges the support of Claudia Alessi and The Chapel Space, Ausdance WA, Sue Peacock and Prendiville Catholic College.


Facebook event

Pictured top is dancer Liz  Cornish. Photo: Damian Doyle.

Claire Sullivan and Jacqui Otago with Mike Makossa and Liz Cornish behind. Photo: Damian Doyle
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