This end-of-year performance season is dedicated to the memory of New Zealand’s celebrated ballet dancer Rowena Jackson, who died earlier this year aged 99. Rowena was Director of New Zealand School of Dance (then National School of Ballet) in the 1970s when her husband Philip Chatfield was artistic director of (later the Royal) New Zealand Ballet. That partnership ensured a close rapport between School and Company, echoed later in 1980s when Anne Rowse and Harry Haythorne were respective directors. After some years it is heartening that Garry Trinder, director of the School, is again renewing that rapport with the Company’s artistic director, Ty King-Wall. Artists, teachers, students and audiences are all going to benefit from that mutual trust as it develops even closer. 

This season includes three premieres, and alternates classical and contemporary works, which gives a welcome opportunity to see the strengths of the School’s two parallel programs. It opens with a piece to the Waltz from The Sleeping Beauty. The cast of 15 dancers, drawn from all three years’ classes, dance with enthusiasm and commitment. [More]

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This programme of six works covers both classical and contemporary styles and is the new look end of year showcase of the New Zealand School of Dance. Strong dancing, stylish presentation, great lighting by Wendy Clease and a vibrant  stage of talent makes for a great evening of dance. 

The surprising stand out for me is a classical gem (S)EVEN choreographed by Jenna Lavin to Franz Schubert Piano Trio No 2 in E Flat Major. Charming and pastel, the seven dancers have that effortless yet crisp technical  clarity that makes classical ballet shine. They dance within the music and together – a lovely synergy – deceptively simple and special. 

ALL EYES OPEN (choreography Taane Mete, music Eden Mulholland) is a restless, undulating, indecisive contemporary choreography that captures and responds to the tensions and uncertainty in Gaza and indeed the world of now. Very repetitive in content the large cast manages  the physicality and spatial  challenges well and the contemporary technique is strong and dynamic. Exhausting! But such is life and tough times. 

The Waltz from Sleeping Beauty opens the evening with an interesting staging and many soaring lifts. The original choreography was Marius Petipa and here The Waltz is staged and rehearsed by Robert Mills.  Tchaikovsky ‘s ballet music is legendary and a gift to dancers  but the musicality here needs  better understanding. Softening through the feet into fondus that facilitate both landing and leaving the floor needs to be developed and used to gain and sustain the fluidity and musicality particularly in  the  grand elevation sequences. 

SHOWPONY (choreography Matt Roffe) is a quirky contemporary work with a narration and theatrical vibe and the dancers had fun with it. Peeling back performance and delving into personal experiences of performers gives us  an intriguing insight.  Strong technical ability and a great use of momentum give strength to this work. Aylin Atalay really caught my eye here in a strong female cast.

Six works is a big evening and curating an order is a challenge. The final two works somehow were not as cohesive in the programme although both interesting in their own contribution.

Zoe Dunwoodie’s ‘s IT’S NOT ME, IT’S ME was as confusing as its title and again with a large female cast who danced with  unison, commitment and energy.   I lost my way working this dance out. It felt more like a vocabulary exploration onstage and possibly needs a clearer sense of purpose and judicious editing? Maybe it is me – no question that  the dancers gave it their all. 

FORTE (choreography Tim Podesta) is a stylish series of leg slicing extensions and cut and riposte relationships for five excellent dancers in red. Slick and strong this had intricate partnerships and pas de deux but a number of abrupt ‘endings’ that then restarted and carried on. The purpose of this?  It was a showcase ending for this showcase show.     

Congratulations to The NZSD, to the  choreographers, teachers and leadership for a programme that  once again provides opportunity for audiences to share the talent of these students. The graduating  dancers need sustainable jobs but it is tough in the contemporary world and work is mostly project based.

Dancers need more than steps and skills, they need to be nurtured to become artists. This happens in the real world and the world will be the richer for their talents.  These young dancers are well on their way and best wishes go to all and especially to those graduating.  

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