It is a brave move for a long-established artist to abandon his signature style in choreography and his standard mode of production and hand over a good deal of the responsibility for the timing and pace of the performance to the dancers. On the face of it, that is what Michael Parmenter has done with his latest production, Tent.

So if you go along expecting extended sequences of heroic partnering, and passages of driven, densely packed, high-energy, high-risk dancing, you may be disappointed. These have only a fragmentary presence in the new work.

On the other hand, the vitality, musicality and sensuousness we have come to expect from Parmenter productions is still fully present in the dancing, which has a more mellow pace than we have come to expect, and he has assembled some stellar performers to delight us with their artistry. [More]  
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TENT marks the arrival of Michael Parmenter’s latest new full-length dance theatre production, his first new company creation in a decade and a work he has hailed as one clearly demonstrating his current and personal shifts as a choreographer.

Performed already in Wellington, TENT comes to Auckland amidst a buzz of reviews, both good and bad, seeking to find some kind of connection for all dance lovers during the Tempo Festival.

The stage opens as a dim campsite, a white tent set in the middle of the floor, surrounded by the faint sound of crickets. One male dancer crawls out, groggily awaking, and stands looking out at the audience (maybe contemplating the view of the night?).

He is soon joined by another half dressed male, sparking (subliminal?) suggestions of a possible ‘intimate’ relationship. The rest of the cast, all young, some unfamiliar to NZ audiences, then crawl out one by one, dressed in an array of sleepwear- standing in their own manner while looking outwards.

After a while, they efficiently dismantle the tent and leave behind a lying figure (Craig Bary). Light (by Nik Janiurek) carves itself into the muscles of his back, to the dark undertones of a violin. Parmenter’s composer and collaborator Eden Mulholland, gives him plenty of strings and piano in a score that is sometimes stirring, grim, clashing.

The scape is also interspersed with times in between that are silent. This quietness however draws our attention ever tighter within the performance, perhaps removing a safety net for both audience and performer, explaining a detached voyeuristic feeling that arises now and again.

TENT has some specific performance details that are revisited over and over.

Simple transitions occur as dancers walk onto the unmasked stage, to stare either blankly, blindly or still-like at another performer and then at some (given) moment start to move, dance, to partner and/or manipulate.

In one scene a blindfolded figure (Bary) is caught, held and passed from dancer to dancer in a series of ‘duets’. We see the supposition of a dancer’s autonomy yet this freedom is belied by an authoritarian other/presence of their ‘partner’.

Likewise the firm choreographic vice of the precise patterning and timing becomes another omnipresent player in this unwitting power play.

The cast then change into clothes (by Elizabeth Whiting), pedestrian and not very special: stripy tops, leggings, shirts, brown corduroys, jeans and shorts. This situates them somehow in a ‘no mans land’ of being either ‘real people’ or ‘bodies’. We often wonder if they are characters or not? It is hard to tell sometimes.

There is a black dance floor edged by a white floor on the outside (designer John Verryt). It is in the inner zone where most of the action takes place.

One scene, a bit ‘hit and miss’ for me, is an acting/dialogue moment where the cast all walk towards each other to greet and chat. We see ‘friends’ (real/characters?) who cuddle and frolic in a pantomime-like way. Maybe it was a scenario that actually happened during the workshop and was recreated, but the spontaneity is not quite ‘fizzing’.

Playing on a "hongi/hangi/haka" cultural misunderstanding by a Welshman, then a subsequent comparison between a long Welsh versus a Mâori place name, made me feel weird.  Accompanied by music by Fats Freddy’s Drop, its kiwi clichéd-ness was kitsch.

The next scene is abstractedly about changing spatial arrangements, through running and private games, in some kind of reverse follow-the-leader. Though nice to see so many people onstage, again it was a curious departure from the seed/concept of the story.

It seems that the major interest and the most sophisticated work of the choreographer lies in the intense partnering phrases, which obviously show a mountain of skill, focus and hours of training to achieve that finesse.

One duet (Justin Haiu and the marvellously fresh Destiny Stein) is sensual and lyrical and offers a taste of feeling, while at other times there is a mechanical-ness from Parmenter’s trademark drilling and the seeking of perfection. Don’t get me wrong: this is fine NZ dancing and incredible, really, in all its detail and manipulation.

Though aspects of the work lack some sense of subtlety, perhaps a sensitivity of sorts can be glimpsed by the dancers’ effort, who push and push to give their all (physically and mentally) to the cause.

The dancers seem to isolate/insulate themselves within this ‘world’ yet it is also this strict adherence to the rhythm, timing and dynamics that wrests their hearts out of them. This gives an impression of emotional self-containment to survive the vigorous onslaught.

TENT expresses a sense of social unease as we see the ‘tribe’ interact on a surface level, yet delve into the deeper territories that lie ominously and ambiguously below. 

Race, sexuality and religion are poked at, exposing the raw nerve of these core elements of humankind.

There is a ‘fun’ questioning of someone’s sexual preference, which elicits a yelp of happiness from two ‘pro-gay’ dancers.  I’m curious about these labels and consider their relevance to today’s society.

A netball scene ensues, again an outlet for competitive war between different groups. Do we cheer our support for their team divisions (male vs. female, Christian vs. gay), or wonder about the messages behind this portrayal?

In a following dance scene a beautiful solo by a female dancer (the hardworking Sarah Foster) gradually becomes ‘disestablished’ by a trio of ‘men’ who unpick her movement causing her to feel violated. The outcome is not made apparent.

It is this same sense of civilised aggression that filters through in another scene. Part contemporary ‘Krump’/ part mosh pit at a Prodigy concert, the dancers are pushed to boiling point and maybe tipped past it – but to what consequence?  

The company is made up of four male and four female dancers. There is at times a sense of implied hostility between males towards the women, yet between the men we read a contrasting, softer, athletic yet more yielding quality. It is an interesting disparity.

Overall, the work at 90 minutes is relentless, with a language that is widely varied, released, fluid, continual.

I remind myself of how complex the sequences must be and want to love the work and also admire the dancers’ tenacity. A solo by Christopher Tandy is uniquely virtuoso.  

I imagine that the dancers are wholly focussed on mastering the required speed and timing, yet there is something not quite there. The body is seen as a structure much like a tent, but for me it feels empty and I yearn for emotional connection. It is this desire that distinguishes our need for humanity beyond our corporeal objectivity. 

The final group dance is meant to be light, jazzy and relaxed but there is still a pervasive sense of void/avoidance and a disconnection (mostly in the eyes), revealing something else about the range of choices they are allowed to make within the broader picture?

The dancers receive three curtain calls, to much appreciation from the crowd – and rightly so. They are truly ‘winners on the day’ and perhaps hold the key to unlocking this highly designed world in Parmenter’s ambitious (and hopefully evolving) first edition.  
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This is a work that has been long in the making and long awaited as it has been nearly 10 years since Michael Parmenter, arguably one of New Zealand’s most illustrious choreographers has made a substantial new work.

Expectant murmurings amongst the audience are matched by murmurings within a tent, pitched centre stage and illuminated from within. Muttered voices and morepork calls set the scene and a shadowy evening light outlines the dancers as they emerge one by one into our world. As the tent is dismantled and shrugged away the foetal curve of a curled sleeping figure is discovered.

Slowly the articulated limbs of a dancer unfold and we watch seemingly newly found points of balance and connection to the floor as this blindfolded figure discovers the space above and beneath him and ultimately stands upright. It is Craig Bary, the epitome of disembodied energy and a mesmerising performer who tantalises and surprises with superb control but an almost impossibly fragile fluidity.

A rather long and mundane greeting sequence ensues and we are introduced to Chris, from Wales. The uncomfortable reality of a new kid on the block, a usurper, not one of us, "Fancy him?" provides social inter-action within the group. Chris Tandy is welcomed and this acceptance jettisons the work forward via an improvisation exercise in which all eight dancers find patterns in walking then colliding, sharing and shadowing. They add confrontation, collision and curiously twisted leaps into the air as if to ultimately avoid each other. 

The effective staging by John Verryt provides a bleak and contained black floor outlined in white that defines their space. A series of relationships ensue and dances in pairs, solos and trios are structured. Taut, effective phrases are male dominated as sinuous movement is crafted in space and held to the floor by invisible tent pegs….a ball game starts with an interesting reverse ball bungy but seemed to go on too long and became a token ploy to reality complete with canned crowd commentary?

Unison sequences were beautifully danced with each dancer retaining gestures of individuality within the vocabulary and a deceptively easy-going style in their bodies. At times they became passers-by who hovered at the sidelines to observe each other. Relationships developed or failed to spark against the stretched lines just outside the lit space where changes of clothing hung and were plucked as required.

Improvisation was a key feature of the process of Tent but there were Parmenter trademarks at many junctures. Throws and collegial catches, wonderfully intricate and caring partnering, scintillating precision in Sarah Foster’s solo (in fact in all she did) – and the glimpse of an unfulfilled relationship between Claire Lissaman and Destiny Stein.

Parmenter’s aim was to explore a transient concept and the dance moved in much the way that real life does. So many possibilities, some breathtaking and sweeping in their conclusiveness and some that fail to ignite, asexual, sensuous by turns, caring females rewarded by aggressive volatility, four men dropping in separate squares of light and throughout each dancer taking turns in the patterns and environment made by the others.

Craig Bary with stunning clarity and strength was one hundred per cent in the moment and it was exciting to see the matching excellence of Chris Tandy who seemed always on the verge of some life changing discovery about himself. Together they created some of the best moments within Tent.

Specially composed music by Eden Mulholland using strings was glorious but the overall effect was of a collage of musical pieces.

The ending was muted and back to where it all began with eight dancers still unattached and a return to the opening ‘meeting’ scenario. I felt that the Tent had become a time capsule, not only stretching the movement but also containing something to treasure.

Great dancing and great to see this fulfilment of an idea that has been long in the realisation.
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This new work devised by Michael Parmenter  is built from studio improvisation techniques with a cast of eight dancers – Craig Bary, Victoria Columbus, Sarah Foster, Justin Haiu, Claire Lissaman, Destiny Stein, Adam Synnott, Christopher Tandy. The dancers work in a strong team, anticipating and relating to each other’s moves as though they had been performing together for years.

There are some sequences of compelling beauty, particularly solos and duos. Craig Bary phrasing his movement to music of Bach, and Sarah Foster to her own heartbeat, are exceptionally memorable.  Other sections with more dancers range in atmosphere from social interactions, humour, competition, and a lively sports match ( for which the Commotion Company should acquire a patent.)

Although some text is spoken by the dancers there is no attempt to storyline the work.  Most of the dancing is itself about dancing, as in "we are dancing therefore we exist". The stylized sequences allow us to read and shape meaning or mood as we wish.  The various gender combinations are fecund in this respect. 

Perhaps some of the sections seem long or repetitive as choreographic structure, but that is a natural feature of improvisation – and truth to tell, dance this competently and confidently performed sits outside of time considerations.

The lively score composed by Eden Mulholland uses a wide range of resources; set design by John Verryt and lighting by Nik Janiurek, are fully and impressively integrated.  The stage space is used particularly appropriately with all performers remaining close by, even if in the shadows – thus eschewing the conventions of frequent exits and re-entrances that can so often weaken an abstract work of this nature.

Each performance will differ to a degree as some sections remain based on improvisation. A bit like life really

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This eagerly awaited work by Michael Parmenter is a collaborative choreographic effort by himself and the eight dancers that comprise Commotion’s current line-up.  As such it is a mixed bag.

As an ensemble, the company dances supremely well. It takes a great deal of effort to make dance like this look as effortless as it does. There is also outstanding work by Craig Bary, Sarah Foster and Christopher Tandy.

Parmenter has stated that Tent is "all about reaching and stretching and being pulled outside yourself … it’s also about the aspect of (being) temporary and fleeting." This is all well and good.

It also seems to be about the collective recollections of those New Zealand summers we have all known: the beautiful, the ugly, the funny, the flirtatious. Sexual experimentations, tender and disastrous couplings, playing ad hoc games on the beach and sitting around campfires telling stories and watching shadows come and go. 

The trouble seems to arise out of the word "collective". There is simply too much collectivity here and not enough of a single firm choreographic thread. The work lacks cohesion. On one hand there are simply too many ideas and on the other not enough – certainly not enough to warrant its excessive hour and a half length. Judicious pruning would help immeasurably.

It begins on a stage devoid of set, save for a small white tent, with rows of lights grouped on either side. The dancers emerge from inside the tent and proceed to dismantle it, leaving Craig Bary curled up foetus-like, alone centre stage. He begins to dance blindfold, a sinuous unfolding solo. This is the first of many brilliant Bary moments. He is an outstanding dancer and is the lynchpin of the production. 

This expressive and focussed solo segues into a fairly prolonged group sequence of walking by the company. They appear to be ‘shadowing’ each other, until the walking becomes dancing and a quite thrilling group passage follows, full of thrusting vertical leaps and quirky twists and turns. As an audience, we do not know which passages are improvised or set. This sequence would appear to be improvised. But it is of little matter. It works. 

The same simply cannot be said for all that follows. There is a brilliantly danced and disturbing section by Foster and three men; a wonderful solo by Tandy who is a fantastic dancer. His extremely flexible body is capable of spaghetti-like back bends and high extensions, unusual in a male dancer. But equally there are some unnecessary and far too long passages such as the interminable ball game and the duet for two guys whom we can only just see anyway.

Choreographically it is definitely different from previous Parmenter works. The elegance we have come to associate with his work is less visible here, although given the theme that is appropriate.  Instead there is a new vitality and youthful exuberance apparent. Martial arts which have always informed aspects of his work, are still in evidence, and even  jazz dance. 

So much New Zealand choreography is preoccupied with floor work, close body coupling and little actual dance. After a while it becomes a trifle grim and repetitious. This is no exception.

So, a mixed bag and one that definitely appealed to the opened night audience. It would be most interesting to see it more than once, to see what changes do occur.

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