Project
directed by Ruth Osborne
Lighting
design by Guy Harding
Presented by
QL2 Dance
Gorman Arts
Centre, 25th and 26th November 2017
Reviewed by
Bill Stephens
Now in its
19th Year, QL2’s “Hot to Trot” initiative offers the opportunity to
young budding choreographers who have participated in other QL2 projects, to
spread their wings and discover their own creative voice through creating their
own original work. To this end, Ql2 offers them support in providing dancers, mentoring,
technical facilities and studio time to develop their creations.
This year 10
young artists stepped up to create the two films and eight dance works which
made up the program. Some for the first time, and others building on experience
gained in previous programs.
Besides
participating in works by other choreographers, Patricia Hayes Cavanagh created
an interesting short film “Blank Face, Busy Hands” which focussed on how people
express emotion through their hands. Filming her subjects against a blank wall,
concentrating on just their hands as they expressed opinions on a variety of
subjects, Hayes Cavanagh produced a surprisingly lyrical and enlightening
result.
Her dance
work, “Get Your Kicks on Route 66”, was a charming exploration of the interactions
between three young people on a road trip, beautifully portrayed by Caspar
Lischner, Ruby Ballantyne and Walter Wolffs, all of whom contributed works of
their own to the program.
Ruby
Ballantyne’s work, “Our Room 17”, was perhaps the most accomplished work of the
evening. Focussing on the notion of comfort, Ballantyne incorporated a large
bed, a colourful backdrop and five dancers, including herself, in a beautifully
realised and inventive work, depicting the charming interactions between the
dancers as they shared a rainy afternoon in a cosy bedroom. The work was funny,
perceptive and joyously danced.
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| "Our Room 17" - Choreographed by Ruby Ballantyne. Photo by Lorna Sim |
Walter
Wolffs expressed his concerns regarding the treatment of refugees, in an
abstract work entitled “Aliens”. The work commenced dramatically, the music was
well-chosen and the costumes for the three dancers were thoughtfully designed,
but despite some interesting ideas, the choreography failed to convey any clear
intent.
This was also a problem for Eve Buckmaster and Ursula Taylor who tackled the idea of relocation with their work “Moving Home”, which they performed themselves. Costumed in transparent white boilersuits the two dancers performed a series of intricately choreographed manoeuvres, which while interesting and admirably performed, did not really convey much about their central idea.
This was also a problem for Eve Buckmaster and Ursula Taylor who tackled the idea of relocation with their work “Moving Home”, which they performed themselves. Costumed in transparent white boilersuits the two dancers performed a series of intricately choreographed manoeuvres, which while interesting and admirably performed, did not really convey much about their central idea.
 |
| Ursula Taylor and Eve Buckmaster in "Moving Home" Photo: Lorna Sim |
Ursula Taylor
and Caroline De Wan performed Milly Vanzwol’s, “Critical Point”, a dramatic
work which commenced unnervingly with a scream in the darkness. However,
despite dramatic sound and lighting, the choreography was unable to sustain the
promise of its opening moments. Dancing in Caroline De Wan’s “Comfort Ending”,
Vanzwol gave a riveting performance as a person coping with the challenges of
approaching adulthood. Performed in a setting comprising a large lounge chair
surrounded by four lamps, this work impressed with its inventive use of
lighting and sound.
Vanzwol also
performed in Alison Tong’s work, “The Infinite Wait and its Three Emotions”, a
delightful light-hearted work depicting anxiety, excitement and boredom through
the friendship of three hitchhikers. Friendship
was also the central theme of Natsuko Yonezawa’s charming short film “Habitus”
which opened the program. “Habitus” featured Rifka Ruwette, Alison Tong, Walter
Wolffs and Sarah Long as four friends fooling around while exploring dance
moves in a studio.
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| "Does School Fit 7.6 Billion ?" - choreographed by Caspar Ilschner. Photo: Lorna Sim |
Friendship
and inclusion was also at the centre of Caspar Ilschner’s ambitious work “Does
School Fit 7.6 Billion?” which questioned how schooling is not suitable for all
individuals. Ilschner worked with a cast of six dancers who manipulated three
stools in a series of cleverly choreographed sequences, to achieve an always
entertaining and beautifully resolved work.
Given that several
of the young choreographers featured in this program have ambitions to make
careers in dance, “Hot to Trot” not only provides an absorbing and entertaining
evening of dance, but also offers a fascinating insight into the future of
contemporary dance, and the people who will possibly shape it.
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| Carolyn De Wan and Ursula Taylor in "Critical Point" - choreographed by Milly Vanzwol Photo: Lorna Sim |
An edited version of this review was published in the digital edition of CITY NEWS on 27th November 2017.
