The noun Flux can be defined as “the action or process of flowing out”; an apt title for the end-of-year show where all four remaining graduates have committed to tertiary study at other institutions next year.  However, it is an alternative definition that springs to mind, having just enjoyed this year’s graduation performance. In metalwork, you can “treat with a flux to promote melting”, and the obstensibly diverse elements on offer this evening – eight individual choreographies, placing student compositions alongside the works of dance industry professionals – are finely combined into a smooth showcase for the talents of four amazing young women.

The black box theatre style at Hagley Open Stage works well for dance, and good use of lighting (by Sean James) and smooth technical transitions – including the live mixing of film elements by Savanna Ornsby – means that each work melts effortlessly into the next.  Company director Naressa Gamble and Artistic Advisor to the company Fleur de Thier (who also operated sound) have crafted a slick and professional programme that moves along at a swift pace, but offers moments of clarity to reflect on each dancer, both individually, and in combination with their peers.  At the graduation ceremony that follows the performance, de Thier comments that this year’s company have formed the strongest personal bonds she has seen in the 16-year history of Hagley Dance Company, and to me, this is clearly evident in the way the dancers work together on stage.

Phebe Mander’s opening work “Inside Looking Out” starts quietly, with wrapped dancers and sparse sound and movement, allowing the audience to settle and be drawn in. As the dancers manipulate the smothering shroud downstage, building dynamics and theatricality heighten the tension of both the piece and the fabric, before the latter is released and gathered upstage by Mander, who wraps herself in a way that for me somehow evokes a sari or religious garb, and is strangely captivating.

“Immure” follows; a well-crafted and satisfying piece by dance professional Aleasha Seaward that beautifully illustrates the strength and physicality of the four young dancers. Moments of hesitant vulnerability and trust contrast with fluid and satisfying transitions in and out of the floor and the effortless execution of the latter partnered sequences and lifts demonstrate the shared journey and experience of an intensive year’s dancing together.

Olivia O’Brien – who was announced as the recipient of this year’s Sheryl Robinson scholarship for funding toward tertiary study (at Unitec) in 2017 – created “Silenced”; where taped mouths draw extra attention to the strong visual language and physicality of the dancers.  Subtle changes of costume and the release of previously plaited hair work well for Frankie Harris’ choreography, “Transfer”, and her brief solo leading into the piece work especially nicely alongside the projected visuals, integrating them into the overall presentation.  Clever use of blocks of chalk in Tessa Newton’s work “Dust to Dust” give the piece a strong focus and intensity that feel very current.  Strong and graphic (I was particularly impressed by the seemingly perfect circles drawn by two of the dancers), I feel this work has maturity beyond the maker’s tender years.  All of the student choreographies show unique and developing voices that have clearly benefited from the guidance they have received over the course of a year at Hagley, while utilising a common dance vocabulary that works well on all of their bodies, in spite of inherently different movement styles.

Three very different works complete the show.

Elements of Naressa Gambles’ work confuse me, like its name, “Half Broken (Chapter 1)”, and the choice of skeleton leggings that seem to draw attention to the pulsing happening primarily only in the upper bodies of the dancers.  However the great commitment by the dancers to the falls into the floor, and to the contrasts of movement styles the piece contain make for enjoyable viewing, with some magical suspensions and beautiful moments of ballon.

Fleur de Thier’s “Let’s Face It” has the audience laughing out loud at times, and show us a welcome new side of these young performers.  The choreography – de Thier’s 8^th on the company this year – sits easily on their bodies, and allows them to look at their effortless best, despite the hair over their faces and the challenging costume/props.  The piece works equally well when viewed as either a socio/sexual political commentary, or simply as pure entertainment. These young dancers appear to shine in de Thier’s choreography: she has a talent for allowing dancers to own the movement and express it as their own.  The often surprising use of the men’s suit coats and the dancers’ own hair emphasise their lithe grace, youthful beauty and the fun energy that is rightfully theirs.

“Huntress” by Julia Harvie is ‘inspired by Artemis the Greek Goddess and challenges the dancers to rise to the level of its complexity, the clarity of movement required, and to achieve its precise formations.  The dancers rise admirably to this challenge, and I was glad to see this piece included as an indication of the commitment, stamina and passion the graduates will need to apply in their future careers. The piece is a fine choice to round out a stimulating evening of dance that leaves no question as to the value that can be gained from the Hagley Dance Company programme.  Well done all.  

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