As the audience accumulates outside on a warm, pleasant evening, waiting to enter, music by Slumberjack is heard. Soon the audience is aware that dancers have started moving inside squares drawn in chalk. As the dancers make their way into the theatre, transitioning from one square to another, the audience follows, making their way to their seats. This is a structured improve designed by Megan Platt and a fun, engaging beginning to the evening.

The program states, “Filling the Gap is a dynamic, urban work inspired by the street art that fills our empty spaces inChristchurch.” This show is a celebration of the end of a year for the eight members of the Hagley Dance Company providing an opportunity to demonstrate some of their accomplishments as emerging dancers and choreographers.

Jacqueline M Smith-Autard states in the book Dance Composition “. . . composing involves moulding together compatible elements which, by their relationship and fusion, form an identifiable ‘something’.” Although it has segments choreographed by both students and professional choreographers (Fleur de Their, Julia McKerrow, Megan Platt and Naressa Gamble, the new company director), Filling the Gap weaves together as a cohesive nights performance, having the presentation and feeling of one work, an identifiable ‘something’. We are taken on a journey as each choreographer explores their own unique perspective on common themes through a shared movement vocabulary.

An audience member says after the show, “I especially loved the first half. But the whole piece was connected by its cohesive movement phrasing . . . I was so impressed by the commitment of the dancers.” The show definitely has an urban, street dance attitude, successfully blending movement influences from both hip hop and contemporary dance. The costume, lighting and music changes inventively intertwine through the show. Costume changes are incorporated in the choreography, removing and adding items such as shirts, shoes, coloured jerseys and hoodies, varying the look of the black base clothing and black knee-wraps.

Although the program lists fifteen individual pieces, it’s difficult to discern where one piece stops and the other begins. This is a testament to the creative transitions between pieces created by Fleur in collaboration with Naressa and the students. The dancers consistently demonstrate stamina, talent, focus and attitude, with little time off stage for anyone during the hour and a half program except for the interval. Youthfully energetic and cool, Filling the Gap’s identifiable something is thoroughly engaging, impressive and a lot of fun.

Choreographers reference a variety of perspectives, including how buildings are being built which will now obscure some of the magnificent street art that brightened and filled the gaps in the broken city post earthquake. The artistic concept is consistent even through its promotion in posters and postcards which used a graffiti wall as backdrop to dancers striking poses that blended into the wall art.  Throughout the evening, a scaffolding tower stands upstage right and remains unused except having some discarded coloured jerseys tossed over it.  The tower seemed to represent the empty, unused buildings post earthquake.

Bella Stanley’s “Harmony”, based on the creation of artwork, has one dancer skilfully manipulating and moulding the shapes and movement momentum of another. “A Unified Space” by Kate Rutherford shows how connectivity unites us all, and highlights some strong sweeping arm movements. “Classic Graffiti”, a solo choreographed and danced by Isaiah Thornton, juxtaposes hip hop moves with the music of Mozart.

Kirsty Chin-Boyes piece, “Metanoia” through clever combination of soundtrack and the dancers talking and walking with sharp direction changes, demonstrates the noise and chaos of the busy street/busy lives, alluding to the dissolution and replacement of everyday ego. “Brokenly Beautiful” by Rebecca Flynn was excellent. This is a moving duet with the theme, ‘Not everything is broken, but when broken, it can still be beautiful.’

Abbie Rogers choreographs a very funky piece titled “Unknown”, where the dancers don black caps slightly obscuring their faces. “I.D.” by Ella Wallace has five dancers standing in a row downstage, focus forward, each performing their unique series of gestures and claps, creating interesting syncopated rhythms. Kim Keil, who has a bright future in dance, choreographed “The Streets” with the idea of ‘the streets are our canvas, the night is our permission.’

Wonderful offerings by the professionals include: “Look” by Megan Platt; “The Rite of Pop” a tongue in cheek piece by Julia McKerrow; and “Wall” Parts 1 & 2 by Fleur de Their. The intriguing film “Filling the Gap” conceived and choreographed by Fleur de Thier with film, editing and effects by Sean James (DOX/VFX) includes some beautiful images of dancers superimposed over segments of a wall of graffiti art. Naressa Gamble’s “Flox” was inspired byAuckland-based graffiti and mural artist Flox, known for her colourful images of native birds, ferns and flowers and was represented through movements and the bright coloured jerseys worn by the dancers.

A s the new Director of Hagley Dance Company and Head of Dance for Hagley College, Naressa states, “It’s been really exciting to walk into this role to work with a company who are so giving, open and responsive to my direction.” She acknowledges former company director Candice Egen’s work and adds how grateful she is for the support she is receiving from the whole team at HagleyCollege.

The full-time Hagley Dance Company program serves as an intermediate training ground. Graduates often go on to dance programs at Unitec in Auckland, The University of Auckland or other related fields.  A good dance education has inherent value that goes beyond the dancing and its physical and artistic demands. Through the various processes involved, significant life lessons and skills are accomplished such as leadership, teamwork, communication, problem-solving, self-confidence, discipline and an understanding of the creativity within. The value of expert nurturing from the dance professionals at HagleyCollege is evident in Hagley Dance Company’s intelligent and fun Filling the Gap.

Copyright © in the review belongs to the reviewer