Variant

‘Variant’ is a duo of works performed by LINK. Chrissie Parrott as a research project within WAAPA established the LINK dance company for WAAPA’s Dance Department ten years ago.  LINK has become a resident company that links not only other Australian dance schools, but as in this case the Amsterdam Dance Company. The performances are in The Geoff Gibbs Theatre, in WAAPA, Edith Cowan University’s Morley Campus.

The performances of these two twenty-minute pieces start at 7.30 pm on the 24^th and 25^th May with one matinee on Saturday 26^th at 2.00 pm.

‘Slack’ (20 minutes) is one of nine works by Brisbane born Larissa McGowen. Larissa trained at QDSE, won scholarship to the Victorian College of the Arts, before winning the Mary Orloff award for ‘Most Outstanding Talent’. McGowen went on to win a Green Room Award for ‘Best Female Dancer’ and ‘Best Female Dancer in a Ballet or Dance Work’ at the Helpmann Awards and then again in 2008, a Helpmann Award for Best Female Dancer. Lately, and we hope not finally, the 2011 ‘Australian Dance Awards for Outstanding Performance by a Female Dancer’.

I lost my programme on the way home so regretfully I am working from memory and so apologise to the two WAAPA students, who were included in the group of about sixteen international dancers, for not giving them a personal mention. I would appreciate someone else giving them credit.

I should like to point out that this is my interpretation of these contemporary dance pieces and may not be what the choreographers intended.

Slack          In a dark cellar, representing a person’s mind and soul, a morgue attendant dumps another body on the floor. Will the mind accept this as the end, or will it fight back? Gradually within the strewn corpses, the blood starts to circulate. There is cramp twitching as life returns to the body. Slowly the other bodies also come back to life. Their limbs become stronger and they try to stand up. Like young foals, the legs wobble and stumble; slowly they are able to walk again. They have overcome another of life’s adversities.

         A dais floor lights up to show the ‘queen bee’, attached by a long plait extending perpendicularly to the ceiling. She seems to control those around her. This section of the dance symbolises the effect of domination and the pressure from those around us.

         The ensemble then dance in groups, mirroring the movements of each other, showing harmony in the mind. Then gradually there competition creeps in, initially it is friendly and then aggressive, with the ‘Queen Bee’ perched on her rostrum like Proud Cortez acting as a puppeteer. Suddenly there is an explosion and all of the dancers fall to the ground. A new ruler has emerged.

Stunning choreography, imaginatively conceived and although most demanding of the dancers, carried out with powerful and brilliant skill. The pounding unusual music vibrated the auditorium. Wonderful.

Sweet Fields         is choreographed by Twyla Tharp (a Quaker) one of the world’s most esteemed living choreographers. Charles (?), the American répétiteur, has worked wonders with this fabulous team of dancers.

         It is America around 1750. A lone male dancer, dressed in a Puritan white shirt and trousers, sweeps onto the stage. He is joined by others as they arrive at New England shore. They are enthusiastic pioneers. A choir sings Quaker counterpoint madrigals and canonical religious, cappella chants, in this brilliant blend of mourning and joy. 

         These Shakers, a religious group, build up in numbers. Slowly the older members die and are carried in a cortege to their resting places. The Shaker sect becomes established.

         The virginal girls tremble (delightful dance routine, suggesting the ‘Shaker’ community) as they dance for joy at their new home. The boys work hard to establish their new homeland, with a spine massages being given to relieve the pains of toil. The celibate groups being kept carefully separate in their performances. It is a land where they believe the Second Coming of Christ will take place. Strutting like fine racehorses, they look upon the nearby river as the River Jordan and that they will now create the New Jerusalem.

The contemporary dancing was highly athletic and delivered with such a delicate style as to make the movements appear like flowing silk. The air of this performance was bright and loving. The musical accompaniment divine, the 40 voices of the Eneksis Vocal Ensemble were crystal clear and yet powerful.

A truly uplifting duo of performances, beautifully lit and with perfect sound. Tremendous.