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digging dance\'s depths

by:Marslite     2019-09-06
The quarrying season ballet is a chance for WA Ballet dancers to walk out of her Majesty\'s theater and enjoy themselves --
They did it this year.
The Ballet season continues until March 9, with Margaret River, the quarry amphitheater at Leeuwin Manor, 17 Flores. All of this was created by young choreographers-they brought the work a primitive energy that was perfectly suited to the position.
The background of the quarry is steep limestone walls, trees and city lights in the distance, and it is not just a place but an integral part of the performance.
The choreographer who seems to understand this best is David Jonathan, whose work goes beyond that, the second of the night.
From the center stage of two male dancers.
As one man strode toward another, their shadow-thrown into the sharp relief on the walls of the quarry by Joe comorio\'s clever lighting design --
Merge into one and then separate with the beginning of the dance.
Sabry Ghalem as a dancer-
Cheliv and Richard Potter jumped up and turned around, and their shadow aroused Peter Pan and his shadow.
Jennifer provens joined them and was then held up and bent by the man to form the machineLike structure.
Simple outfit-a cream corset for Provence and high school students --
Men\'s waist underwear-occasionally a somewhat raw robot action will evoke the string puppet that escaped from the toy box.
After the dynamic music of American composer John Adams
The industrial feeling of work.
This is a promising debut for young choreographers.
The party opened with King David McCarthy\'s work, 19, in honor of McCarthy\'s late neighbor, whose favorite musical work was Mozart\'s Piano Concerto No. 19.
This is a beautiful music, and McCarthy\'s dancers also performed it very beautifully.
The four couples were dressed in pure blue and had only red glitter, the only decoration they had --Defined muscles
Full of women-
The long dress highlights the continuous smooth movement of choreography.
The fifth couple in a bloody red dress is the highlight.
Kasey Polkinghorne and Tim O\'Donnell\'s pas de deux are amazing as Polkinghorne blends in every step with commitment and belief.
The climax of the night was Catherine Goss\'s work, Tatu.
Like Jonathan, Goss developed her work as part of the WA Ballet Genesis program, which bodes well for the company as it has in its own team
Goss chose the soundtrack for the movie \"Lola Run\", which drives a male, sexy and original work.
She worked with three male dancers to create the work, and one of them, Tim O\'Donnell, danced that night.
He and Cass Mortimer used each other as foil and levers to create acrobatics and original dances.
Catherine Goss said on the show that she wanted to find \"challenging, dynamic, detailed, strong and satisfying movements \". She succeeded.
After such a strong and vibrant first half, the second half was disappointing.
It consists of pieces, a work commissioned specifically for the quarry season, by former Bangladeshi dance theater dancer Francis rings and Awards --
Award winning choreographer
The rings use their implied middle age-the ancient pile of debris-and the life of the past-as a source of inspiration for her work.
She used the string quartet of Philip Grasse and Peter skusthorpe, which looked slow and dirty after the energy of the first works --like.
The first is the dancers in the center of the stage.
When they are separated, they travel back and forth like the drifters on the wreck.
The second act allows women to take heavy steps with the ship on stage.
They wore straw hats of different shapes on their heads and were then joined by people they applied in och color.
It is full of meaning, but I\'m afraid its meaning has disappeared from me.
Still, the first three pieces are great and worth a night under the stars.
Pack a picnic and enjoy a unique evening in Western Australia.
Tickets provided by BOCS.
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