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City's Branch Nebula
A skater, a break-dancer, a BMX rider, an
acrobat, a dancer and a fallen diva carve
out a pleasure ground from a stark urban space,
in this spectacular fusion of street-style
and dance.
Welcome to Paradise City, the show that turned
Sydney Opera House into a skate park.
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See world champions
with truly spectacular skills, choreographed
in a breathtaking display that sweeps between
poetry in motion and the sheer raw energy
of a jam. Hear the diva sing against a live
score of sumptuous Bach, driving beats, and
the crunch of skateboard wheels on concrete
– through a surround sound system that
pulls you right into the arena.
Feel the tension build as they circle each
other, bike teasing the acrobat, dancer tangling
with skateboarder, before exploding into action,
a maelstrom of bodies and wheels.
Watch Australia’s finest urban artists,
in a battle to reclaim the city with body,
board and bike.
“An intensely
absorbing, lyrical, nightlife street culture
fantasia… Branch Nebula’s Lee
Wilson and Mirabelle Wouters have created
a work of poetic intensity out of everyday
play, dance and physical theatre, making the
most of oscillations between stillness and
action and, above all and magically, of the
strange time-space in between… More
and more audiences should be invited into
this strange paradise.” (Keith
Gallasch, RealTime)
Co-creator/Director: Lee Wilson
Co-creator/Designer: Mirabelle Wouters
Composer/Live Sound: Bob Scott Composer/Singer:
Inga Liljeström
Performers: Alexandra Harrison (acrobat),
Anthony “Lamaroc” Lawang (B-Boy),
Simon O’Brien (BMX), Kathryn Puie (dancer),
Petera Hone (skateboarder)
Creative Consultant: Kate Champion
For Tour Dates link
to www.performinglines.org.au/tours.php
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Underground's
Dancenorth
“Fast,
dangerous, quirky but with a core of almost
angry sadness”
(The Courier Mail)
Underground is an explosive new dance theatre
work, showcasing the gutsy choreography of Dancenorth’s
Artistic Director, Gavin Webber. |
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Webber's style
developed over a decade working with Meryl
Tankard (Australian Dance Theatre) & Wim
Vandekeybus (Belgian company Ultima Vez).
He is also the co-founder of Splintergroup,
the choreographers and performers of the dance-theatre
work lawn, which astonished audiences in Sydney
and Perth Festivals in 2006.
In Underground, Webber has collaborated with
a young and dynamic ensemble at the Townsville-based
company Dancenorth to create a distinctive
dance theatre language. Underground shifts
from darkly moody to hilariously funny to
terrifyingly athletic, with Luke Smiles’
powerful score turning it up with Nick Cave,
Nine Inch Nails and Messerchups.
Underground is set in a subway during rush
hour. The dancers are commuters. They share
a common crowded space with one another, yet
are all individuals with desires. Underground
transports audiences to a world where these
thoughts and dreams slip through the cracks,
where commuters slip between mundane reality
and a vivid dream world – and where
strangers seem disconnected yet are capable
of great compassion and tenderness.
Direction: Gavin Webber
Choreography: Gavin Webber and dancers
Rehearsal Direction: Michelle Ryan
Lighting Design: Jo Currey Music & Sound
Design: Luke Smiles Set Design: Craig Skelly
Dancers: Alice Hinde, Charmene Yap, Hsin Ju
Chiu, Joshua Thomson, Kate Harman, Kyle Page
For Tour Dates link
to www.performinglines.org.au/tours.php
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Back
to Back’s small metal objects
Internationally acclaimed Back to Back Theatre
presents small metal
objects – the sell-out smash hit
of the 2005 Melbourne International Arts Festival
– in a national Mobile States tour.
small metal objects
is a subtly comic fable of two ‘invisible’
men and their accidental role in the downfall
of a business awards night.
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Staged in a
public space with passers-by as unwitting
extras, small metal objects is a spectacle
of the ordinary. Among the unsuspecting pedestrians
are Steve and Gary, a quiet, lonely pair on
the fringe of society. The seated audience
listens via headphones to the characters’
intimate conversation and composed score set
against the constantly moving pedestrian landscape.
Gradually the audience identify the performers
to whose conversation they have exclusive
access.
small
metal objects examines respect, identity
and invisibility, in an age when our value
is calculated by our productivity. Part voyeuristic
meditation, part urban thriller, the effect
for the audience is an unforgettable cross
between documentary film and theatre.
Director / Devisor:
Bruce Gladwin Sound
Composer
& Designer / Devisor: Hugh Covill
Devisors: Simon Laherty, Sonia Teuben, Genevieve
Morris, Jim Russell
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Lucy
Guerin Inc’s Love Me
Lucy Guerin’s work is known for its unique
movement sensibility, its high level of detail
and its ability to synthesise the conceptual
and the physical. Love Me features three short
works exploring relationships in projected environments,
focusing on an intimate connection between the
human body and projected image: Reservoir of
Giving I and II with visual artist David Rosetzky,
and On and Melt with motion graphics designer
Michaela French. |
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| “Mesmerisingly
potent… Everything is taut and in sharp
focus; not a moment is wasted. Guerin is clearly
an ingenious choreographer who creates with
a sense of purpose and with supreme control
of her materials… Melt is a perfect
miniature jewel of a dance.”
(Dance Australia)
Performer/s: Kyle Kremerskothan, Stephanie
Lake, Byron Perry, Kirstie McCraken
Visual Artists: Michaela French & David
Rosetzky
Sound: Paul Healy, Franc Tetaz & Darrin
Verhagen
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Tanja
Liedtke’s Twelfth Floor:
Characters emerge and unravel in this darkly
funny physical exploration of human interactions
in confinement, set in a mysterious institution.
A rich texture of dance, theatre, movement,
video and DJ Tr!p’s moody electronica
make a sophisticated and original work, shifting
effortlessly from tender, lyrical moments
to brooding menace to explosive physicality.
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"This
brilliantly incisive and perceptive dance
work is disturbing, laugh-aloud funny and
tragic. In turns and at the same time. As
I write, tears are filling my eyes. That is
how strongly it affected me - then, now and,
I expect, for a long while to come."
(Sydney Morning Herald)
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version
1.0’s The Wages of Spin
Spin looks at the “sexing up”
of the case for war on Iraq, taking public
documents (parliamentary inquiry transcripts,
media interviews, weblogs) as its source material.
It’s political theatre for the 21st
century: playful, surreal, visceral and tragic,
with no easy answers. |
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“This is
a great show: witty, clever, lively and
provocative.”
(The Australian)
“The power
of The Wages of Spin resides in the totality
of its vision and its expert realisation…
An immaculately realised hybrid of performance
and electronic media, and one of the best
I’ve witnessed.” (RealTime)
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Chamber
Made’s Phobia:
A story of feigned madness, love and deception,
inspired by Hitchcock's Vertigo, PHOBIA takes
place in an imaginary film sound studio, where
every prop becomes an instrument. Written
and directed by Chamber Made’s Douglas
Horton, composed by Gerry Brophy, and performed
by members of The Ennio Morricone Experience
and physical theatre duo desoxy. |
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"Contemporary
music theatre at its best" (Inpress)
"Poetic,
witty and endearing ... the result is sheer
theatrical enchantment." (The
Age)
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de
Quincey Company’s Nerve 9:
“An epitaph
for our time,” (The Age) drawing
on Kristeva’s writings, and fusing Tess
de Quincey’s distinctive dance with
provocative poetry and
vocals by Amanda Stewart,
powerful video and soundscape by digital
sequencer Debra Petrovitch, and subversive
text by Francesca da Rimini, creating a feminine
space where body and word co-exist. |
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“An
engrossing, ever-changing sequence of moods
in dance, visuals and sound.” (SMH)
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Jenny
Kemp’s Still Angela:
a multi-sided portrait of a contemporary Australian
woman at three ages. |
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“Most
striking about this production is its sheer
originality. It is so surreal there are streaks
of Fellini. And yet it is earthed in the prosaic.
And it stands with its feet firmly planted
in Australiana. …the production shimmers
with aesthetic in design, lighting, sound,
movement and word….a wonderment of thought
and performance which takes theatrical experience
to a different edge.” (Adelaide
Advertiser)
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