Black Grace: Verse 2
12/09/2011 - 13/09/2011
05/10/2011 - 11/10/2011
Production Details
70 mins
Celebrating the vitality and strength of dance
Review by Roxanne de Bruyn 06th Oct 2011
Instead the audience is left awed by the dancers’ skill, strength and grace and the complexity and intricacy of the choreography. And, in many ways, the message seems scarcely necessary when watching dancing of this standard. Everything is so measured, yet free and the production is a joy to watch. The dancers are polished and energetic and there is a feeling that one can simply fall into their movements and go with them on a journey to dreamlike places.
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Unfaltering energy
Review by Jennifer Shennan 15th Sep 2011
Verses 2 has thematic contrasts yet consistent movement vocabulary across an energized programme of short works. The stamina, speed and precision of the performers are all to the max. Leaps, falls, rolls, pauses, gestures and runs combine balletic borrowings with athletic delivery. Gyms would lose their livelihoods if everyone achieved these aerobic levels (though the theatre’s sound system could do with a fitness check.)
Pati Pati references two Samoan dance forms, the sasa, with flashing split-second uniformity of gesture – and fa’ataupati, a virtuosic yet slapstick display of macho prowess. The original forms are good-humoured and extrovert, though Neil Ieremia has here choreographed dense and intricate layerings of rhythmic body percussion with a fully serious purpose, as though the dna of everyone on stage requires its perfect delivery. No-one faltered.
Two poems by Ieremia set the tone for a bracket of dances that refer to poignant themes of self discovery and identity, with New Zealand and Pacific references and containing some powerful imagery.
The Nature of Things, to music composed and performed on stage by harpist Natalia Mann, brought an intriguing dance / music relationship in parallel. A sense of dream-like exploration gave this striking work’s title a true resonance, and the final percussive heartbeats shaped both dance and music composition.
But it was the final choreography, Keep Honour Bright, that truly took to the air and invited us along for the flight. Ieremia has always choreographed superbly to Bach, as though surfing on the waves of that most eminently danceable composition. ‘The Goldberg Variations’ gave the dancers metric and spiritual springboard, and the choreography, through its light and shade, breathed with a fine sense of phrasing. It seemed in retrospect as though the preceding works had all been preparation and warm-up for this shining cameo of dance-making. We could have watched it all night, but then we’d have missed the magnificent bright full moon hanging in the sharp clear Wellington sky that seemed like appropriate sequitur to the dance we had just seen. Keep Honour Bright indeed.
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All things change - even Black Grace
Review by Greer Robertson 13th Sep 2011
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