Choreographed by Jack Ziesing, Jodie Farrugia, Ruth Osborn,
Steve Gow
Costumes
designed by Cate Clelland – Lighting designed by Mark Dyson
Composed by
Adam Ventoura – Film by Wildbear Digital.
Canberra
Theatre Centre Playhouse – 20th to 22nd May, 2021.
Performance on 20th May reviewed by Bill Stephens
The strength of QL2 Dance presentations is how the dancers are involved in the creation of the works they are performing. For each project, the dancers take part in research and creative workshops around chosen topics. Then follow intense rehearsals under the guidance of professional choreographers.
It’s a
process that has yielded extraordinary results over the years, attested by the
alumni listed in the program who have gone on to successful choreographic
careers, and resulted in QL2 Dance
becoming an acknowledged leader in youth dance Nationally and Internationally.
“Rebel” is
an outstanding example of the success of this process. 28 dancers aged 14 to 22
studied protest movements from the late 1960s and early 1970s as the basis of
this compelling dance work.
 |
| "Then" |
Presented in
three sections, the first entitled “Then” choreographed by Ruth Osborne and
Steve Gow, commenced light-heartedly, with the dancers costumed in riotous
Carnaby Street fashion, cheerfully performing a mash-up of the dance styles of
the period.
 |
| "Then" - Christopher Wade (C) |
Archival
Vietnam War heralds a change in mood, and the beginning of the protest
movements as the youth of the world began to demand control of its destiny. The
women’s rights, gay liberation, civil rights, climate change, even fashion,
represented by an outrageous fashion parade, all cleverly represented in dance
terms, became reasons for protest.
 |
| "Then" |
The words “I
am Angry” delivered with conviction by Toby McKnight, tightly framed in a spotlight,
commenced a powerful statement written by Jack Ziesing which set the mood for
his compelling section “Now. Problem Child”.
As McKnight delivered his speech,
the stage dressing quietly disappeared.
 |
| "Now" |
The lights
came up to reveal black-costumed dancers in a line at the back of the stage. Working
to an ominous, compelling beat, they proceeded to perform a regimented routine
with their arms, before breaking into groups.
 |
| "Now" |
Ziesing’s
mastery of quirky unison crowd movement for this section, performed with extraordinary
commitment by the dancers, resulted in a highly original and compelling dance
work which ended the way it started with the stage dressing quietly returning and
Toby McKnight completing his anger statement.
 |
| "When" |
Jodie
Farrugia’s section “When?” picked up on the issues raised in Ziesing’s work.
Focusing on leadership and ideas of gender inequality and toxic masculinity,
represented through young men being forced into uniform dress and young women
parading with books on their heads, her work featured demanding acrobatic
sequences, clever manipulation of costume elements, all achieved with
considerable aplomb by the dancers, and ended dramatically with the dancers
strongly demanding “When ?”.
 |
| "When" |
A
professional gloss was added to the production by Adam Ventoura’s extraordinary
soundscapes, the dramatic lighting design by Mark Dyson and superb video design
of Wildbear Digital. Once again Cate Clelland’s witty costumes perfectly
complimented the concepts of the choreographers.
A special bonus provided by a delightful pre-show performance in the foyer, choreographed by Alison Plevey, set the tone for this thought-provoking, challenging and thoroughly entertaining evening of dance.
All photographs by Lorna Sim
This Review first published in "CITY NEWS" on 21.05.21
