Even without its solid and cohesive programme, this Auckland-based youth company would warrant applause for its important work in the community sector and promotion of contemporary dance. Founded in 1993, Pointy Dog Dance Company, which is comprised of a group of high school-aged students under the tutelage of artistic director Felicity Molloy and producer Joanne Kelly, recruits its members through yearly community auditions.

The show presented a dozen short works created either by the young dance artists themselves or by professional  choreographers in a collaborative process with the dancers. 

The interesting array of pieces – solos, duets, trios and group works – were framed by two works by Felicity Molloy which introduced and rounded off the afternoon. A little apprehensive and with some nervous moments in the first few minutes, the all-female teenage cast noticeably gained in poise and stage presence as the show progressed.  The pieces were all grounded in sound understanding of a good all-round contemporary technique.

Two solos in the first half of the programme deserve particular mention. In ‘Strings’, choreographed by the young dancer herself, Rachael Anderson makes extensive use of floor, her sensitive quivering movements highlighting this promising performer’s expressive potential. 

‘Volatility’, danced and choreographed by Rose Philpott, stands out with its focus of energy on a circle in centre stage lit by a red spotlight. In its compressed dynamics and dramatic lighting effects (lighting: Martyn Roberts), the work reminds me of the canonical Boléro by the French choreographer Maurice Béjart. Rose Philpott’s talents were recognised in 2007 when she won the Tempo prize for best youth performer.

In the second part of the programme, ‘Adolescentango’ by the choreographer and Unitec-graduate Katie Burton addresses particularly well the issues and concerns of teenage years. In an interplay of group work and duets, it offers a lively, colourful show whose dramatic effect is underlined by the expressive music from Moulin Rouge (‘El tango de Roxanne’), and the imaginative costumes ranging from ballet tutus to Spanish-style dresses with scarves. The all-girl cast means it cannot make direct use of the interplay between the sexes so central to tango; however, its theme and energy are greatly in keeping with the eroticism, passion and subtle aggression of this dance form, and an ideal vehicle for the conflicts and tensions experienced in early adulthood.

The trio ‘Tight Knit’ by Julie van Renen draws on very different aesthetics and movement repertories, its strange, nervy, squirming patterns creating a stark contrast with the drama of the tango piece. 

All in all, a show well worth viewing provided one not does not expect (quite) the finished articles as performers, but instead recognises potential, infinite enthusiasm and a glimpse of tomorrow’s professional talent.
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