Reviews
NZSD 45th ANNIVERSARY GRADUATION SEASON
Te Whaea Theatre, Wellington
21 Nov - 1 Dec 2012
Flying to New Zealand from Europe can seem like arriving at the last stop on the planet, but this time was different. Thanks to Peter Jackson’s Hobbit film, premiering in Wellington, I arrived in Wellington to find I was in the ‘Middle of Middle Earth’ – where apart from hobbits and various elfin folk, there was some fine dance to be seen.
The 45th anniversary graduation season of the New Zealand School of Dance, under the direction of Garry Trinder, made the trip worthwhile. I can’t think of another school able to present in one programme, works by George Balanchine, Garry Stewart, Parrish Maynard and Sidi Larbi Cherkaoui and all performed to a professional standard. The unique balance of classical and contemporary training attracts top international students (two have just joined from the Beijing Academy) and is turning out dancers whose movement quality is thrilling.
An unexpected visit from Cherkaoui led to Australian James O’Hara staging the opening solo from Faun, the role he created for Cherkaoui. Gareth Okan was remarkably good in this work, which requires exceptional fluidity and for the dancer to be absolutely in touch with his instincts. It requires natural movement: difficult for the professional and even more so for students, who often prefer to shelter behind their well-polished technique, so all credit to Okan, who achieved this in spite of years of good training.
The very physical nature of the contemporary training prepares the students well for Garry Stewart’s choreography and a number of graduates are already working in his company. Birdbrain is a wild and witty take on Swan Lake. Moments of lyrical ‘swan’ ports de bras are interrupted by dancers flying horizontally through the air or across the stage. The four cygnets are briefly identified by their hand-locked configuration before tangling in wildly inventive patterns. Kate Baring-Gould managed, interestingly, to combine both the lyrical and the acrobatic in her short solo, while Andrew Miller added fearsome movement and dry humour in his. And I loved Brydie Colquhoun and Francesca Sampson, who seemed able to propel their bodies with the velocity of ricocheting bullets.
The younger contemporary choreographers had their work cut out in this exalted company. Picnic Party Prison Pack by graduate Claire O’Neill used a cleverly interwoven mix of text, sound score and pop music for her large ensemble piece. She managed the dynamics well in this party piece, although it stretched beyond its natural length, and if it offered fewer challenges to the dancers, there was no doubting the enjoyment factor. Brunhilde Observing Gunther was a teasing playful duet on a boy meets girl theme. Choreographer Mia Mason showed an inventive use of movement while giving the dancers a chance to develop a dramatic, if low key, theme. Odem by Ivica Novakovic was a serious, well-intentioned piece that spelt out its message of release from bondage graphically as the dancers divested themselves of their fantasy costumes to search out a new life.
The classical repertoire gave the opportunity to see the training and potential of the students. Balanchine’s Valse-Fantaisie is a light-hearted, unsophisticated work set on neatly defined choreographic patterns imbued with a feeling of perpetual motion. It was refreshing to see the dancers move with such speed and vigour. They showed keen sensitivity to the musical phrasing, while the freedom of ports de bras and upper body heightened the joyous quality. Maynard’s Fractals updates the classical vocabulary with a cut-and-thrust style somewhat in the manner of William Forsythe. Although less complex in structure, it offered challenges, not least in partnering skills, in which they demonstrated the confidence and timing of professionals. It was encouraging to see the students tackling both the traditional and modern ballet techniques, as so many companies need dancers able to bridge this range. Working in a modern style can encourage an overplay of tough and aggressive movement, with dancers riding rough-shod over the subtleties, but in the two strong casts Chloe Einicke and Wiliam Fitzgerald best maintained the sharp edge while looking thoroughly at ease with the presentation. Einicke, a tall, well-proportioned dancer gifted with long, beautifully placed feet, complemented a strong technique with natural charm, while Fitzgerald matched up well, proving a very able partner. Verse, written for Luis Piva Junior, was [created] by former graduate Loughlan Prior. The subtle ‘physical calligraphy’ said it all, the choreography embroidering on Junior’s fluid torso and arms while stretching his steely legs to the limit.
Edmund Stripe’s Symphony No 1, Opus 25 set to Prokofiev’s Classical Symphony and written for Singapore Dance Theatre closed the programme in exhilarating mood. It has a distinctive style with very good use of the ensemble and, although set on demi-pointe, it is classically rooted with a freedom of movement that encompassed the whole stage. The school has had another good year for student employment and they will be joining the other NZSD graduates who are making their mark in companies all over the world.
Maggie Foyer, Dance Europe
This 45th anniversary programme is a fitting tribute to the NZ School of Dance's achievements. It showcases choreography by local and international choreographers and includes three world premieres.
Ann Hunt, The Dominion Post
With polish and panache, the full time training students graduate with a fine display in an evening of joie de vivre. To mark this milestone of producing dancers for not only a national but an international market over the past 45 years, this Graduation Season definitely shows where their strengths lie.
Carefully selected pieces from globally recognised choreographers not so often seen in New Zealand, such as George Balanchine, Sidi Larbi Cherkaoui and Garry Stewart, are presented. What a delight for the dancers to get their teeth into such well reputed pieces, honing and performing their carefully learned skills of up to 3 years of artistic sweat and labour.
Greer Robertson, Theatreview
Next up was a duet, Brunhilde Observing Gunther, by alumni Mia Mason, in which Simone Lapka and Andrew Miller circled each other tentatively, with moments of contact quickly undercut by withdrawal, mimicking the oscillations between trust and suspicion at the heart of relationships. Parrish Maynard’s Fractals was then given a sassy performance by eight of the classical trainees. Clearly influenced by the Forsythe’s In the Middle Somewhat Elevated, the work's skewed classicism and sexy moodiness was caught well by the young dancers...
...This season gave the classical students greater opportunity to shine compared to previous programs I’ve seen, but both streams undisputedly performed at a professional level. Indeed, many of the graduates have already been offered contracts from companies as wide a field as ADT, the Houston Ballet, QBT, and the San Francisco Ballet. On the strength of this program, it’s not surprising that the school is fast achieving the reputation of being one of the best training institutions in Australasia.
Maggie Tonkin, Dance Australia
NZSD CHOREOGRAPHIC SEASON 2012
ON THE OTHER HAND
Te Whaea Theatre, Wellington
18 - 26 May 2012
Ten new works made by students were held together by the search for self of one dancer and his commentary on life. Gareth Okan, gave a real physicality and thematic purpose to this series of works...
The audience were totally engrossed in sharing the journey and the talent on display. Bravo to all involved in making this choreographic season and to the contemporary department of the NZSD for building this talent for the future.
Deirdre Tarrant, Capital Times
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Much humour, ranging from whimsical to sardonic, and plenty of mickey-taking, includes hilarious use of David Attenborough's commentary on the behaviour of different species. This does not get stuck in slapstick but catches light and shade through dynamic movement contrasts, with impressive and highly entertaining results....This show is eminently worth seeing
Jennifer Shennan, The Dominion Post
On the Other Hand is the result of a four-month intensive in which ten young up-and-comings were asked to individually choreograph an original work pertaining to an event or influence of personal significance. The resulting ten pieces are beautifully, technically executed, and balanced with precision and care. One cannot argue with the expert dancing technique rendered in every cast; they are entrancing and at best inspiring.
Lumiere.co.nz
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A stellar, cohesive performance of these ten new works...
Virginia Kennard, Theatreview.org.nz
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NZSD GRADUATION SEASON 2011
Te Whaea Theatre, Wellington
16 - 26 Nov 2011
Dance Australia
Reviewed by Maggie Tonkin
In order to accommodate both the classical and contemporary streams at the New Zealand School of Dance, director Garry Trinder has devised a mixed program of works for this year’s graduation. From Bournonville to Paul Taylor, Balanchine to newly commissioned contemporary works, this ambitious program makes diverse technical and stylistic demands of the students...
All in all, this program gives the dancers a fantastic opportunity to show their mastery of a range of styles, and it's no surprise to learn that a large number of the graduates have been snapped up by companies across the region.
DANZ Quarterly
Reviewed by Lyne Pringle
There is an impressive roll call of choreographers presented in the New Zealand School of Dance Graduation Season. Equally impressive is the way the young dancers, on the verge of professional careers, take on the challenges that these choreographers present.
Dominion Post
Reviewed by Jennifer Shennan
Paul Taylor's work to the Andrews Sisters' hits is a winning finale that unites performers and audience. There's a mix of charm and cheek, with a poignant edge to some cameos. The Boogie Woogie Bugle Boy of Company B gives the title to the whole work, and 'player of the match' to Daniel McCarroll - though in truth all the graduating students deserve the same award as they embark on dance careers.
Capital Times
Theatreview.org.nz
NZSD CHOREOGRAPHIC SEASON 2011
SKETCH
Te Whaea Theatre, Wellington
20 - 28 May 2011
Dominion Post
Reviewed by Jennifer Shennan
The annual season is a smartly produced and delivered programme of high-energy dance, choreographed and performed by the contemporary dance students.
Capital Times
Reviewed by Deirdre Tarrant
Contemporary dance is certainly a strong artistic force in New Zealand and these young dancers have it all - not only as beautifully trained exponents of their very challenging art form but clearly they have something to say and the confidence and encouragement to say it. Congratulations to all and to the School and technical team who pulled an evening that was much much more than a Sketch of talent!
Theatreview.org.nz
NZSD GRADUATION SEASON 2010
KIWI + KYLIAN
Te Whaea Theatre, Wellington
17 Nov - 4 Dec 2010
Dominion Post
Reviewed by Jennifer Shennan
This enterprising New Zealand School of Dance graduation season offers two different programmes across alternate performances. Kiwi has five works by New Zealand choreographers, both new and re-staged pieces. By contrast, Kylian has four works from nearly four decades by European master choreographer Jiri Kylian in a superb and beautifully danced programme that deserves an accolade...
...All we need now is for live music to all the above and I will stop reviewing dance because there won’t be much more to say, except 'thank you'.
Capital Times
Reviewed by Deirdre Tarrant
This year there are two performances for the students to show their abilities.
A real pleasure to see a body of four works by Jiri Kylian, a master choreographer. Strong lines, control and interesting command of interactions, were shown by all the dancers but, for me, the most successful were the cantabile of the Songs of a Wayfarer and the power in both Helio Lima and Du Yan Hao in the evocative Stoolgame.
The following night many of these dancers were back onstage with KIWI, five works by five New Zealand choreographers with distinct traits and vocabulary stamping individual style on each work. Sarah Foster's Tragic Best had the quirky angles, theatrical twists and unexpected energies of street wit that is developing as her trademark. Malia Johnston in atoms & Eve moved dancers sinously with individual phrases and patterned sequences that firmly connected her bodies to the earth.
Solos by Lisa Brooker and Zoe Dunwoodie stood out. Craig Bary used a picnic table to develop a travelling game of relationships and conversations in his vibrant Go Home Stay Home. Michael Parmenter revisited Rhapsody, a solo first made for Bary as a student and now taken on a new ownership by dancer Tom Bradley. Raewyn Hill's ability to seemingly suspend horizontal bodies en masse was a grand finale in Dances for Sixteen.
The NZSD is in good heart. The dancers are strong, positive and projecting a real drive. It will be interesting to see the paths they forge out in the very tough world of 'being a dancer'.
Theatreview.org.nz
Kylian programme by Jan Bolwell
Kiwi programme by Jenny Stevenson
Kylian programme by Jenny Stevenson
NZSD GRADUATION SEASON 2009
Te Whaea Theatre, Wellington
19 - 29 Nov 2009
Capital Times
Reviewed by Deirdre Tarrant
The end of year performances by the students of the New Zealand School of Dance are always a special occasion and an opportunity to see these young dancers before they emerge into the profession. This is a very strong performance and all the dancers take the stage with strength, passion and absolute confidence.
There are seven works culminating in the Paul Taylor work Airs (1978) restaged by Richard Chen See. I saw this work many years ago and it is as refreshing still with intricate rhythm and speeds but a wonderful effervescence and sense of space and movement. Jana Castillo and Robbie Curtis stood out in a strong cast, but they simply were so much fun to watch! In the classical works Kathryn Botica as Marie Taglioni in Pas de Quatre had both the technical efficiency but also a real interpretation of her role and Andre Santos in the Paquita Pas de Trois displayed outstanding technical clarity and ballon.
The stand out work for me was Sarah Foster’s Crossed Fingers pas de deux. Inventive, intriguing and totally mesmerising the choreography let Katherine Grange and Loughlan Prior indulge in quirky, unexpected and very demanding movement. Great to see a contemporary work made en pointe and danced with such assurance. It was exciting to see the line between the vocabularies being blurred and dancers able to dance both techniques with command...
...All credit to the staff of the school and Director Garry Trinder for an adventurous programme and above all, a real commitment to New Zealand choreography. It was excellent to see graduates returning to choreograph and the life blood of our dance living on in such a wonderful way.
Dominion Post
Reviewed by Jennifer Shennan
Eight contrasting works performed by svelte and enthusiastic young dancers. Fit, strong, beautiful, musical, committed, spirited youngsters remind their audience of many good things in life...
IN A SPACE - Choreographic Season 2009
Te Whaea Theatre, Wellington
5 - 13 Jun 2009
Dominion Post
This year's season of student choreography is themed around matters astronomical, and the programme of 13 items, beautifully lit, results in some strikingly effective imagery of stars and space and escapes from gravity. Viewers of all ages will love it.
Capital Times
Artistic Coordinator, Sarah Foster, has excelled in melding a range of choreographic explorations into a cogent whole… Clear, clean lines and accomplished dancing shone throughout…
Thread.co.nz
The dancers themselves were sensational. They are New Zealand’s crème de la crème and it's obvious.
NZSD GRADUATION SEASON 2008
Te Whaea Theatre, Wellington
19 - 29 Nov 2008
Dance Europe
Reviewed by Emma Manning
Despite its somewhat far-flung location, the school attracts many internationally-renowned professionals and , in addition to Janek Schergen (who takes over the direction of Singapore Dance Theatre this January), this year’s students also had the opportunity to work with NDT’s Arlette van Boven, who staged Jiri Kylian’s Un Ballo, and Frank Andersen, who taught the Flower Festival in Genzano pas de deux to Japanese Haruka Tsuji and Brazilian Andre Santos (in New Zealand on a scholarship he won at the Youth America Grand Prix in 2007). A cuter pairing would be hard to find and the enjoyment both dancers get from performing this charming piece of Bournonville is infectious. While both still have yet to perfect every step, Tsuji is already a competent technician and Santos has an exuberant jump...
...On the contemporary front, the school prides itself on inviting former graduates to create works for the school and Ross McCormack’s Symbiotic was commissioned for this year’s graduation season. Set to a wacky mix of Achim Nica, Krassimic Kiunkdigiski and Aphex Twin, the piece was delivered at full throttle by Jessica Jefferies, Nicola Leahey, Robbie Curtis and Florian Teatiu. If the programme claim that the work explores “hybridisation, evolution and morphing” was a tad pretentious, no one could mock the way in which the students, with hair periodically yanked or used to polish the floor, thrashed through the physical extremes demanded of them.
Capital Times
Reviewed by Deirdre Tarrant
This annual offering of classical and contemporary works gives us a look at the strengths of upcoming talent as well as an eclectic mix of local and international repertoire...
...A great end to the year and one of the best Graduation performances I have seen. Bravo.
Dominion Post
Reviewed by Jennifer Shennan
...Jiri Kylian’s choreography, Un Ballo, to Ravel, staged by Arlette van Boven, is timeless in style, and in the freshness of performance it invokes from the dancers. Two words – "Quite Fabulous", though, believe me, I could write 2000 words. Each of the Kylian masterpieces being brought annually into the School’s repertoire will, like the heritage of Limon works in a previous era, improve the lives of those who dance them, and those who see them.
Bournonville’s The Flower Festival in Genzano, staged by Frank Andersen, until recently artistic director of Royal Danish Ballet, brings joy and vitality to centre-stage. Haruka Tsuji and Andre Santos do a sterling job, conveying a delightful sense of fun, which is no small achievement in this demanding style of dancing that makes such interesting contrast with the opening Russian work. Two words – "Completely Delicious", though, believe me, I could write a book.
We Can Fight, a new work by Sarah Foster, has loads of comic punch and edge, and Dan Caddy does a spirited delivery of the lead role.
The pas de deux from Concerto, by Kenneth MacMillan, is staged by Gary Trinder to Shostakovich’s Piano Concerto no.2, played live (much appreciated). It is very competently and beautifully danced by Katherine Grange and Michael Lee, who both show a purity of line, and share secure rapport.
In Natalie Weir’s spirited work, Jabula, the dancers give and receive much uplift. It proves a celebratory closing to a strong performance. One wishes good long dancing lives to them all.
Thread.co.nz
Reviewed by Cyndi Greep
New Zealand School of Dance Graduation season opened last week in Wellington with the creme de la creme of New Zealand's graduating students performing polished dance presentations with finesse.
The evening was made up of classical ballet and contemporary dance performances, with a mix of the two genres holding the audience in spellbound silence. It's hard to describe the contemporary dances as they ranged from an African insect chanting ensemble to a good Kiwi Southern man cracker. One of our favourites has to be mentioned as being Natalie Weir's Jabula which was dynamic, energetic and danced with passion.
Opening night saw two world premieres unveiled to the audience, with the work of internationally-recognised contemporary dance choreographers Sarah Foster and Ross McCormack performed by the graduates. These performances had the audience applauding before they finished with the woman seated next to us whacking her heels on the floor in wonder.
NZSD trains dancers to become nationally and internationally recognised - and they certainly are. All areas of dance are studied from performance through to choreography and graduating students excel. These students are multi-talented and will go far once launched from New Zealand. If you get the chance, go to a graduation season performance, and prepare to be amazed.
NZSD Choreographic Season 2008
Steel Skeletons
Te Whaea Theatre, Wellington
30 May - 7 Jun 2008
Capital Times
Reviewed by Deirdre Tarrant
Great to see more contemporary dance aligning itself with New Zealand Music Month. There was a wide and varied range of music used by seven contemporary dance students to make their own ‘blueprint’ dance.
The annual Choreographic Season from students at the New Zealand School of Dance is a good opportunity for them to explore and present their ideas professionally.
This year’s collaboration with the Entertainment Technology and Costume Construction students has resulted in a tight and excellently constructed series of works. The Artistic Coordination by Paula Steeds-Huston had a strong overview and there was also input from mentors Malia Johnston and Brenton Surgenor.
...The dancers did indeed “explode onto the stage” as promised in the media release and showed strong technical mastery and a hungry ability to use the space.
NZSD 40th Anniversary Graduation Season
The Opera House, Wellington
9 & 10 Nov 2007
Sunday Star Times
Reviewed by Ann Hunt
The atmosphere was electric, the wine flowed and designer glad rags proliferated in this eclectic programme celebrating the 40th anniversary of the New Zealand School of Dance.
The School is a great achievement for New Zealand and one which its directors and teachers, past and present, should be justifiably proud.
The evening began appropriately with a glimpse of the future. Levels One and Two of the Regional Associate Programme, aged 10-11 years, performed A Birthday Offering, (choreography by Sarah Roe and Melanie Clark) followed by the full-time classical students in the final movement from Theme and Variations (choreography, George Balanchine). Sharni Spencer and Kyle Wood were the featured soloists and very good they were.
Dominion Post
Reviewed by Jennifer Shennan
New Zealand School of Dance celebrated its 40th Anniversary in a gala performance at the Opera House. The contrast between many short works on a full programme emphasised stylistic variety, but there was an impressively high performance standard.
The choreographic masterwork of the programme was Evening Songs, by Dutch dance-maker Jiri Kylian, to music by Dvorak. This cast was drawn from both classical and contemporary streams of the school. The calm clarity of movement, with elements of sequencing, layering, phrasing and grouping all impeccably proportioned and judged, makes this a dance, poem and prayer in one. An audience feels cleansed by such an experience.
A Birthday Offering, a grand procession of classical students, including youngsters from the Associates programme, made a pleasing opener. Two star graduates – Craig Davidson now with Royal Ballet of Flanders, and Jane Casson with Australian Ballet – performed sparkling solos. The full pas-de-deux and codas from Le Corsaire would have made an outstanding performance.
Davidson partnered second-year student Sharni Spencer in a moving balcony scene from MacMillan’s Romeo and Juliet, showing that Spencer clearly has prospects for a fine career in dance. Danish ballet style was caught in an excerpt from La Sylphide, with another talented young dancer, Ginny Gan, in the lead role, and Rory Fairweather-Neylan displaying impressive technical ability...
...Michael Parmenter’s large group work, to a Bach cantata, was intricately patterned and made a fitting finale to a varied programme that showed dancers full of commitment to their chosen career. Let’s hope at least some of them make it into the RNZ Ballet so we have the pleasure of following their careers here.
The Wellingtonian
Reviewed by Martin Boswell
The New Zealand School of Dance opened its Graduation Season last week at the Opera House. This was a special event as 2007 marks the 40th Anniversary of the founding of the School. Opera House performances were formerly de rigeur for graduation, but in recent years the school has used its own space at Te Whaea. Each venue has its advantages, but for this season, the graduands acquitted themselves very well behind the traditional proscenium arch of the Opera House. The generously-packed programme consisted of 13 separate pieces, including pleasing offerings by Footnote Dance Company and Black Grace, as well as fabulous solos by two illustrious graduates.
Theatreview
Reviewed by Lyne Pringle
This was an impressive show.
The very long evening kicks off with an address by the chair of the Board followed by Michael Cullen who lets us know that this school has been part of the development of New Zealand culture since 1967, when its focus was entirely on training ballet dancers. (In 1982 the school replaced the title The National Ballet School with its current title, embraced a contemporary dance curriculum and began to set its sights on grooming dancers for the international stage.) Cullen makes the often stated observation that for a small country we produce a lot of great dancers and this is validated when one looks at the alumni of this school.
...
Balanchine is always a treat and this version of the Final Movement from 'Theme and Variations' is no exception with Sharni Spencer and Kyle Wood giving a really stylish performance of the central duet in this Final Movement. The corp de ballet work is meticulous and it is pleasing to view Balanchine's mastery of group structures.
...Juxtaposed against the classical items the contemporary pieces show a great freedom. The extract of 'Human Language' from the next guests artists, Neil Ireremia's Black Grace, features school graduates and gives us exuberant dancing as the feisty women in gorgeous frocks are hurled around by the men: then move into running patterns reminiscent of Paul Taylor and even for a moment 'West Side Story'. The interweaving ending is clever and a real crowd pleaser.
Jane Casson has gone on from the school to become a star in Australia and it was wonderful to see her back on the Opera House stage dancing a stylish version of the 4th Variation from 'Paquita'.
...Garry Trinder's assured, rigorous and determined direction, I presume with the support of the board, has completely reshaped the school.
NZSD Choreographic Season 2007
Infinite Thread
Te Whaea Theatre, Wellington
May / Jun 2007
Theatreview
Reviewed by John Smythe
What a celebration: of dance, movement, talent, fabrics, lighting and music! Inspired by fabrics - their look, feel, texture, construction, qualities, virtues, place in the world - Infinite Thread offers a magical mystery tour through an eclectic range of choreographic styles comprising 13 works set to an equally diverse selection of contemporary New Zealand music.
Also a joy is the seamless presentation. Gone is the sense of recital; a concert. This is a show, not a showing of; a showing off. And of course the creative talent is appreciated more when it focuses on a purpose beyond itself.
Likewise the dancers who stand out are those who have imbued their work with meaning, a reason to be, that inspires them to think, feel and reach beyond remembering the next step or sequence. They are there to experience, express, convey, share, exalt in a state of being. Dance is the means to a greater end.
Most of the works are very accessible, capturing the human condition in many guises.