Dark Matter 2025

Visual Art (Photography) Review | Brian Rope

Dark Matter 2025

Joshua Catanzariti, Danica Chappell, Kristian Häggblom, Bingham Thurgate

Photo Access, Canberra

23 October 2025 – 22 November 2025

The 2025 Dark Matter residency program brought together four most interesting artists. They each spent part of this year working in the Photo Access darkroom and developing new works through experimentation.

At a conversation with the artists event I attended at the gallery, Joshua Catanzariti spoke about his research regarding how other people have used digital negatives and how, the more he explored, the more he felt that printing images onto paper and then using those prints as negatives was something he wanted to pursue. A large collage of images displayed in this exhibition was created in that way, using Japanese washi paper. The fibres of that paper got translated into those prints. Using film negatives, layering them on top of each other in the enlarger, was another technique he used. Overall, the created artworks are a marvellous portrait of the outcomes of the artist’s experiments.

Joshua Catanzariti’s artworks – installation image © Eunie Kim 

Joshua Catanzariti, passage to Kasuga - installation (detail), 2025 © Eunie Kim

Joshua Catanzariti, Fuji – framed, 2025 - installation image © Eunie Kim

Danica Chappell’s artworks are absolutely different. She pressed her hands directly to surfaces, breaking a golden rule that had previously been instilled in darkroom workers: a film or paper surface should never be touched. She has investigated the history of photography through experimentation and touch, drawing inspiration from pictorialism photography, which links the hand and chance. Both colour and light are valued in the materials she employed, such as egg whites and old typewriter paper, as well as in the actual production of her final products. She clearly has a strong interest in geometry and abstraction, receding spatial forms, and advancing photography's methods while appreciating its past.

Danica Chappell’s artworks – installation image © Eunie Kim 

Danica Chappel, selection from the series Kaleidoscope, 2025 – installation image © Eunie Kim 

Two most interesting pieces amongst those on display are from a series, appropriately titled Shadow Shaping (light-modulated-form). The shapes, the colours, the light - all are fascinating.

Danica Chappel, Shadow Shaping (light-modulated-form #6), 2025 – installation image © Eunie Kim

Kristian Häggblom has drawn on his childhood memory. He has used surviving darkroom photographs made by his father as the impetus for his explorations. In particular he has referred to images his parent made relating to the 1986 Halley’s Comet celestial occurrence. He has sought to re-tell and speculate about that and other associated stories of destiny and doom. And he has spoken about embracing mistakes in the darkroom. The integrated placement of the displayed completed artworks provides a complete, and most enjoyable, visual portrayal of this project – in many ways a homage. However, the artist has suggested we may not be able to read it all.

Kristian Häggblom’s artworks – installation image © Eunie Kim 

Kristian Häggblom, Halley’s Comet, 1986 – photograph and print by Robert Haggblom, analogue print with wooden base – installation image © Eunie Kim

Kristian Häggblom, On the Beach (Kunihiro Hanasaka & Kristian Häggblom), 2004 – photograph by Souma Sato, framed archival digital print – installation image © Eunie Kim

Bingham Thurgate’s work is accompanied by text written for the catalogue by Mae West on his behalf. It seeks to shift our focus to the “spatial, objectual and material qualities of the photographic image and the ways in which these elements, once manipulated, both shape and guide his methodology.” Four created three-dimensional pieces of art use a variety of materials, such as acrylic paint, hinges, chair legs, bolts, paraffin wax, polyester fabric, and balsawood, in addition to their photographic content.

Bingham Thurgate’s artworks – installation image © Eunie Kim

It is good to view these works from various angles rather than simply front on. Doing that reveals so much more, better enabling us to see their qualities in the way West has identified.

Bingham Thurgate, Photographic print #1, 2025 (dye-sublimation print on eco lycra, MDF board, chair legs, bolts) - installation image © Eunie Kim (detail selected by Brian Rope) 

All four artists have created excellent artworks from their individual programs of experimentation, demonstrating once again that the annual Dark Matter residencies program is successfully achieving its aims.

This review is also available on the author's blog here.

RENT - Opera Australia and LPD Productions - Sydney Opera House

 

Jesse Dutlow as Angel in Opera Australia's production of "Rent"

RENT - Opera Australia and LPD Productions – Sydney Opera House

Book, Music and Lyrics by Jonathan Larson.

Directed by Shaun Rennie – Musical Direction by Jack Earle

Choreographed by Luca Dinardo – Set Design: Dann Barber

Costume Design: Ella Butler - Lighting Design: Paul Jackson – Sound Design: Evan Drill

Joan Sutherland Theatre, Sydney Opera House until November 1^st 2025.

Opening Night Performance on October 1st reviewed by BILL STEPHENS

The cast of "Rent".

   

Watching this production in the vastness of the Joan Sutherland Theatre in the Sydney Opera House it was impossible not to be struck by how incongruous it looked in this environment.

Although creator Jonathan Larson drew his inspiration from a well-loved opera, Shaun Rennie’s brilliant stripped-back, low-tech interpretation, with its op-shop costumes, stark steel scaffolding scenery, with components manipulated around the stage by the cast, that had worked so well in more intimate venues as it toured the country last year, now seemed the very antithesis of the purpose for which the opera house was built.

Voices are now amplified to the point where it is often impossible to hear the lyrics, with  the predominantly new cast appearing to have been directed to broaden their performances  to the point, where for this reviewer at least, it is no longer possible to empathise with the characters, who have now become caricatures, who prefer to embrace the squalor of their environment, and despise those of their number who aspire to lift themselves out of it, with shouting, pushing and shoving replacing subtlety and nuance.

Although none of that seemed to worry those in the audience on opening night determined to greet their efforts with rapturous applause.  

“Rent” is a director’s show, in much the same way as abstract shows like “Hair” and “Jesus Christ Superstar” offer possibilities for daring interpretations. Shaun Rennie has embraced this opportunity and surrounded himself with an outstanding creative team who include choreographer, Luca Dinardo.  Dann Barber designed the sets, Ella Butler the costumes, and Paul Jackson and Evan Drill respectively, responsible for the lighting and sound.  Jack Earle is the Musical Director.

Outstanding moments include a representation of The Last Supper, an eye-popping orgy scene, the death of Angel, and a glorious rendition of “Seasons of Love”. However, it is hard to forgive Larson’s misguided decision to have Mimi come back to life at the end to join her friends in the finale singsong, thereby robbing the show of a potentially shattering climax.

Despite the reservation expressed above, this production remains a remarkable interpretation of the show, including innovative staging and thrilling performances, but perhaps the magic moment of the Sydney Opera House opening night was the introduction of members of the cast of the very different original 1998 Australian production including  Rodger Corser, Justin Smith, Michelle Smith, Genevieve Davis, Prinnie Stevens, Peter Murphy and Troy Woodcroft.  

Whether the global success of “Rent” is due to the legend surrounding the death of the writer and composer of the work, Jonathan Larson, who died just one day before his show opened in New York, or because of the quality of the writing which earned Larson a Pulitzer Prize for Drama, and the show, multiple Tony Awards, “Rent” continues to be a magnet for audiences and creatives alike. 

The cast of Opera Australia's production of "Rent".



Photos by Neil Bennett.



This review originally posted in the digital edition of CITY NEWS on 04/10/25.

 9 to 5 THE MUSICAL. Music and lyrics by Dolly Parton. Book by Patricia Resnick. Directed by Sarah Hull. Choreography by Lauren Chapman. Musical director Jenna Hinton. Queanbeyan Players. The Q, Queanbeyan. Oct 31-Nov 9.  

Judy (Sarah Copley), Doralee (Sienna Copley), Violet (Kate Eisenberg). 

(Photox - Canberra Photography Services)

Is it really over 40 years since the film 9 to 5 came out? Some aspects have dated but this musical still has all that gusto about women’s rights and justice in the workplace that made the film good. And it is good to see the women’s roles foregrounded. 

Young wide eyed Judy (Sarah Copley ) arrives  to take up a job in an office and is soon enmeshed in office politics. She has no skills, not even typing or photocopying, and has to learn on the go. Violet (Kate Eisenberg) has ambition and is a single mother but the males get preference when it comes to promotion. And Doralee ( Sienna Curnow) is looking for friends who will see her for the good and positive person she is.

The office is run by the uptight Roz (Shennia Spillane) who is very strict with the underlings but is secretly carrying a torch for the dreadful boss, Franklin Hart (Steven O’Mara). Franklin has no time for women’s rights or workers’ rights and is also up to some shady financial  activity. 

Excellent performances all round, with the three central women doing more than justice to the songs and the themes. This show is not all comedy and the production remains aware of that. . 

How the women plot their boss’s downfall and achieve some kind of workplace justice is at the core of the story and a big cast give it great energy and drive. Office furniture and walls move around with flexibility to create the many settings and there’s a somewhat 70s feeling to the costumes. 

Jen Hinton leads the pit orchestra powerfully in all the scores’s nuances and energy.  Choreographer Lauren Chapman creates some splendidly coordinated moves, especially with all those men in grey suits. And it is great to see some subtlety in the follow spot work.

The sound was not the best in the first half but came good in the second. 

In a way, despite the vigour of Parton’s songs we are really waiting for the title number, which is hinted at then finally used full bore at the end. Fans of the film will find much to satisfy in this production which is clearly a creation in its own right. 

Alanna Maclean.

9 to 5: The Musical - Queanbeyan Players - The Q.

 

Sarah Copley (Judy) and company  in "9 to 5: The Musical"

 “9 to 5: The Musical” - Queanbeyan Players – The Q, Queanbeyan.

Directed by Sara Hull – Musical Direction by Jenna Hinton

Costume Design – Samantha Marceddo – Set Design: Thompson Quan Wing.

Lighting Design: Jacob Aquilina – Sound design: Telia Jansen

Presented by Queanbeyan Players – The Q, Queanbeyan, Oct.31 – Nov. 9, 2025

Opening night Performance reviewed by BILL STEPHENS.

Kate Eisenberg (Violet) and male ensemble in "9 to 5: The Musical"

 Hard -working Violet, is employed in the offices of Consolidated Industries, and is   frustrated at continually being passed over for promotion for less talented men. After accidentally poisoning their boss, Franklin Hart, her two workmates, Doralee and Judy, persuade Violet to join them in a plot to kidnap Hart, and take over the running of Consolidated Industries.  

Such is the premise of “9 to 5: The Musical”, a female empowerment musical based on the 1980 film of the same name and given an exuberant production by Queanbeyan Players.

The main attractions of this musical are the songs by Dolly Parton, well sung by a cast of talented principals and the large ensemble;  choreographer, Lauren Chapman’s spectacularly staged production numbers; and Musical Director, Jenna Hinton’s  excellent band, so good, that many of the first night audience remained after the finale  to enjoy the play-out music.

Shennia Spillane (Roz) - Steven O'Mara (Franklin Hart) in "9 to 5: The musical"

However, whatever the charms the originating film, they seem to have evaporated in this strident musical adaptation. So that despite the best efforts of director, Sarah Hull and her team, it was difficult to become invested in the collection of charmless cardboard characters that inhabit this musical.

However, Steven O’Mara was particularly good at being bad as the impossibly misogynistic boss, Franklin Hart, even if his adversary, Violet, as interpreted by Kate Eisenberg, is so aggressive, that it is difficult to imagine how her management style would be any different to Hart’s when she took over the management of Consolidated Industries.   

Sienna Curnow (Doralee) and company in "9 to 5: The Musical"

A tendency to gabble her lines, together with her thick Southern accent, compromised the effectiveness of Sienna Curnow’s portrayal of the warm-hearted blonde, Doralee, making it difficult to understand what she was saying.

 Of the trio, only Sarah Copley, with a delightful comedic performance as the insecure, Judy, managed to capture the convincing tone for her character. Her self-discovery solo, “Get Out and Stay Out”, was one of the show’s highlights.

Among the supporting characters, Dave Collins as Joe, found warmth in his character, so that his second act duet with Violet,” Let Love Grow”, was another highlight.

Dave Collins (Joe) - Kate Eisenberg (Violet) in "9 to 5: The Musical"

Shennia Spillane is delightful, as Hart’s nosy secretary, Roz, who harbours a secret passion, while Andrew Taylor is extraordinarily cast-off-able, as Judy’s ex, Dick.

Elsewhere among the large cast, Joshua Galang (Josh), John Whinfield (Dwayne), Kirsten Smith (Kathy), and Kara Sellars (Maria) revel in their opportunities as various of the office dwellers at Consolidated Industries.

Thompson Quan Wing is responsible for the imaginative set design, Samantha Marceddo for the tasteful costuming, Helen McIntyre for the myriad properties, and Stage Manager, Sarah Morris for marshalling the large cast.

Jacob Aquilina and Telia Jansen created the Lighting and Sound Design and special mention to Sophie Hope-White for the delightfully clear and informative Printed Program design.         

 

                                               Photos by Ben Appleton - Photox

     This review first published in the digital edition of CITY NEWS on 1st November 2025.

 

 

9 To 5 THE MUSICAL

 

9 to 5 The Musical Music and Lyrics by Dolly Parton. Book by Patricia Resnick. Based on the 20^th Century Fox Picture. Arrangements and additional orchestrations Stephen Oremus and Alex Lacamoire. Orchestrator Bruce Coghlan.

Directed by Sarah Hull. Choreographer Lauren Chapman. Musical Director Jenna Hinton. Assistant Director Anna Tully. Production Manager David Tricks. Repetiteur Brigid Cummins. Stage Manager Sarah Morris. Costume design Samantha Marceddo. Lighting design Jacob Aquilino (Eclipse) Sound Design Telia Jansen (Eclipse) Properties Master Helen McIntyre, Queanbeyan Players. The Q Queanbeyan-Palarang Performing Arts Centre. October 31 – November 9 2025. Bookings 62856290 or www.theq.net.au

Reviewed by Peter Wilkins

 

Sienna Curnow (Doralee Rhodes), Sarah Copley (Judy Bernly), Kate Eisenberg (Violet Newstead) and Ensemble Secretaries

The year is 1979 and it’s a man’s world. But the times they are a changing and secretaries Violet Newstead (Kate Eisenberg), Judy Bernly (Sarah Copley) and Doralee Rhodes (Sienna Curnow) are out to champion the cause for women.

Consolidated Industries is led by CEO Franklin Hart, a hypocritical, lying, sexist and egotistical bigot (Steven O’Mara). It is time for the women to make a drastic stand to overthrow the patriarchy and show what it takes to restore integrity, dignity and respect to the worksplace.

The instant the ensemble launches into Working 9 to 5 as the opening number, bursting with gusto and verve it is obvious that Queanbeyan Players’ production of 9 to 5 The Musical is going to be one helluva powerhouse production.

Shennia Spillane as Roz Keith and Ensemble women

In recent years I have watched Queanbeyan Players cement its place as one of the leading musical theatre producers in the ACT and Qiueanbeyan. 9 to 5 The Musical is no exception. It is assisted by Dolly Parton’s lively music and lyrics and Patricia Resnick’s fun filled book of moments of hilarity and tongue in cheek satire. It’s no earth-shaker of a musical but it is based on a trailblazer of a film that gave voice to women and exposed the injustice of rampant sexism. More than that 9 to 5 The Musical is a showcase of the remarkable talent that continues to bring high quality amateur musical theatre productions to the community. Director Sarah Hull keeps the action rollicking along in a tightly directed work. She is assisted by Lauren Chapman whose chorography is stylish slick and diverse and can make every performer look good on the stage. The cream on the top of this cherry pie production is Jenna Hinton’s musical direction and the professionalism of an orchestra that is musically excellent and imbues the spirit of the show. Hull, Chapman and Hinton have cast an amateur cast that in this production are not only fabulous singers but also terrific actors.

Eisenberg is the long-time employee of the company, Violet, constantly overlooked for promotion by the misogynistic Hart. Copley’s naïve and innocent newcomer is a delight to watch on stage as Judy grows in strength and confidence, supported by her rebellious sisters in arms. Curnow brings a touch of Dolly to the trio and proves that Doralee is a force to be reckoned with. O’Mara’s Hart oozes sleazy sexism but in the end Pat Gallagher’s chairman of the board is no fool and it is inevitable in every good story that the villain should get his just desserts.

In a company as talented as this there are standouts. None more so than Shennia Spillane in the role of the devoted lackey, Roz Keith. Writer Resnick has cleverly drawn a character to contrast with the feisty trio. In a knockout number Heart To Hart, Spillane burns with unrequited love as her devotion to the lecherous Hart reaches orgasmic longings. As Violet’s lovelorn admirer, Joe, Dave Collins’s fine voice is layered with sentiment in his duet Let Love Grow with Violet.  Copley show Judy’s strength when she asserts her independence from a fickle ex-husband in Get Out and Stay Out.

Shennia Spillane as Roz, Steven O'Mara as Franklin Hart

My only criticism of this finely staged production of 9 to 5 The Musical is that the sound levels on Opening Night robbed the production of clarity of lyrics in the ensemble numbers and the subtlety of the show might have been enhanced by more sensitive modulation. This is an opening night issue and is easily fixed so that each number in the show is a unique rendition of Parton’s original numbers. This was less of a problem in the dialogue scenes and individual numbers such as I Just Might with Judy, Doralee and Violet or One of The Boys with Violet and the Boys.

Sienna Curnow as Doralee and Line Dancers

In a rousing Finale of Working 9 to 5 Queanbeyan Players hit the high note of a fun filled night at The Q. However, it is worth noting the 9 To 5 The Musical is no flibbertygibbit night of froth and bubble. The 1980 film with Jane Fonda, Lily Tomlin and Dolly Parton hit the screens almost fifty years ago. Australian society has come a long way since then with more women occupying CEO positions and the Chairs of important organizations. But what of the working woman, their working conditions and attitudes that prevent Violet’s demands of respect, integrity and dignity. Queanbeyan Players’ excellent production continues to blaze a trail for change as well as providing a night of first-rate entertainment.

The Orchestra: Conductor Jen Hinton, Guitars 1 and 3, Christopher Bennie and Lindsay Hunt, Bass Liz Collier, Reeds 1 and 2 Sarah Pfeiffer, Kirsten Nillson/Casey Paige Magnussen Trombone Maddy Upfold/James Harding. Percussion Tim Cole. Drums Stephen Barrat. Keys 1 and 2 Brigid Cummins and Lauren Duffy. Trumpets 1 and 2 Andrew Terracini and Chris Cutting. Pit Singers Hannah Miller, Luke Ferdinands, Rachel Baker, Hannah Osbourne.

Photography by Photox- Canberra Photographic Imaging

THE PLAY THAT GOES WRONG. Canberra Theatre Centre Playhouse.

 

THE PLAY THAT GOES WRONG – Canberra Theatre Centre Playhouse.

Written by Henry Lewis – Jonathan Sayer – Henry Shields

Directed by Mark Bell – Associate Director: Anna Marshall – Res.Director: Nick Purdie

Set Design: Nigel Hook – Costume Design: Roberto Surace

Lighting Design: Ric. Mountjoy – Resident Lighting: Jason Bovaird

Music: Rob. Falconer – Sound Design: Andy Johnson – Fight & Movement: Dave Hearn.

Performed by: Olivia Charalambous, Edmund Eramiha, Tom Hayward, Stephanie Astrid John, Joe Kosky, Jonathan Martin, Brodie Masini, Sebastiano Pitruzzello, Jack Buchanan, Anthony Craig and Kira Josephson.

Canberra Theatre Centre Playhouse: October 28^th – November 2^nd, 2025.

Performance on October 28^th reviewed by BILL STEPHENS.

Since first seen in London in 2012, “The Play That Goes Wrong” has been convulsing theatre goers around the world ever since.

It last visited Canberra in 2017, and obviously the impression left on that occasion was so positive that every one of the scheduled Canberra performances for its 2025 season sold out before the production opened.  

The premise is a simple one. The struggling Cornley Polytechnic Drama Society, having received a substantial bequest from a benefactor, has decided to pool all its resources on a slap-up production of a 1920’s murder mystery, “Murder at Haversham Manor”, a play which has just the right number of roles to suit its current membership.

The stakes are high, so the director, who also has the leading role in the production, is nervous. But everyone involved is determined to do their level best to ensure the premiere performance is memorable.

 And it is, but not for the reasons hoped. Because as the play proceeds the unfortunate cast finds itself coping with just about every on-stage theatrical mishap conceivable, brilliantly portrayed by an excellent cast of multi-skilled Australian and New Zealand actors, who, despite their best efforts, are ultimately upstaged by the set, which won a Tony Award for Best Scenic Design of a play.

This production is a carbon copy of the original West End production with every moment, and movement, timed to the second, and despite having been touring nationally since June of this year, the current cast still appear to be enjoying the mayhem and merriment as much as the audience.

For anyone seeking brilliantly staged classic slapstick comedy, “The Play That Goes Wrong” is a production that should not be missed.   

                         Images from the Original London production by Alistair Muir

      This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

MAIN CHARACTER ENERGY -

 

Dancers performing "magic mirror, on the wall, who is the fairest one of all?"

MAIN CHARACTER ENERGY – The Chaos Project 2025 - QL2 Dance

Choreographed by Alice Lee Holland, Ruby Ballantyne, Olivier Wikner, Jack Ziesing.

Sound Engineer: Kimmo Vennonen – Videography: Liam Budge

Costume co-ordinators: Natalie Wade, Linda Uzubalis.

 Belconnen Arts Centre Theatre – 24^th & 25^th October 2025.

Matinee performance on 25^th October reviewed by BILL STEPHENS.

The Chaos Project is staged annually by QL2 Dance to introduce young dancers to the delights and challenges of the arts of dance and choreography.  Each year young dancers participate in an intensive two- week rehearsal period, under the direction of professional choreographers, to create works inspired by the theme set by the Artistic Director.

 For the 2025 iteration, the title “Main Character Energy” was chosen by Artistic Director, Alice Lee Holland, as both a challenge and inspiration for the choreographers and dancers charged with creating new original works.

As Holland explains in her program notes, the words “Main Character Energy” is a social media phrase, which emerged during 2020, encouraging individuals to live their own lives.   Holland’s process involves the use of improvisation to explore, uncover and develop each dancer’s individuality. Once that is achieved, her choreographers are charged to draw upon their own choreographic skills to shape those contributions into an original dance work.

QL2 dancers performing "Once upon a time..."

For her own introductory work, “Once Upon a Time …” Holland introduced the full company, costumed individually in black and white, sometimes marching across the stage, at others, performing shapes and variations, during which a bright red apple carried by each participant, became an intriguing symbol of how the program would evolve.

QL2 dancers performing "The Sidekick Revolt!"

A long-time favourite of QL2 audiences, and currently an internee with Legs on the Wall, Ruby Ballantyne also worked with nine of the youngest dancers for her work, “The Sidekick Revolt”. 

After requiring each dancer to complete a prepared questionnaire, Ballantyne utilised their answers as the basis for self-recorded, voice-over introductions by each.  

Performed with gusto and enthusiasm in jellybean costumes, their answers were telling, and the resultant, up-beat dance-work, entertaining. But the aftertaste was a chill, rather than a thrill, when the final tot offered “revolt!” as her solution to a stated problem.

Although contemporary children live in a world filled with images of protest, dissent and destruction, surely more optimistic solutions should be encouraged in children so young.  

QL2 dancers performing "Magic mirror, on the wall, who is the fairest one of all?"

 Olivier Wikner explored aspects of narcissism with her work, “Magic Mirror, on the wall, who is the fairest one of all?”  Working in pairs, and strikingly differentiating by individual overhead spotlights, the dancers carefully mirrored each other’s movements. As their sense of confidence and self-empowerment grew, they broke away from the restrictions of the spotlights and joined larger groups.

QL2 dancers performing "Goblin Market"

Jack Ziesing appears to have approached his challenge from a different direction. Obviously commencing with a strong idea of what he wanted to achieve, Zeising no doubt incorporated the ideas of his dancers into that concept, supporting them with strong design ideas for his costumes and lighting.

As a result, although working under the same restrictions, albeit, with older dancers, his work “Goblin Market” stood away from the others, not only because of the sophisticated execution of the finished work, but also because of the commitment and polish achieved with his dancers, even the youngest.

With her second work "Like Water" Holland encouraged her dancers to look for inspiration in the wisdom of the great sorcerers as portrayed in such works as "Star Wars" (Yoda), "Harry Potter" (Dumbledore), and (Lord of the Rings" (Gandalf). 

So costumed in shiny silver, her dancers, aged 8 - 16, set off, with staffs at the ready, set off in search of their destiny.

A QL2 dancer sets off in search of wisdom in "Like Water". 

 But, although we may have nearly forgotten the damsels, we had certainly not forgotten the apples which re-appeared in Holland's finale - "Oops, we forgot the damsels..." which ended with the dancers, costumed in earth colours, having discarded the apples, falling into a dream, perhaps deciding to look beyond the temptations to technology  and social media to discover their real personalities. 

The enthusiastic applause which greeted the well-staged bows referencing each of the works presented in the program, was convincing acknowledgement of the success of the 2025 Chaos Project.

                                       Images by Olivier Wikner. O&J Wikner Photography

 

 

 

ECDysis - Courtyard Studio - Canberra Theatre Centre

Elizabeth Cameron Dalman performing "Welcome Dance"

 

Choreographed by Elizabeth Cameron Dalman and others.

Lighting designer and technical director – Darcy Wiseman

Graphic designer and project consultant – Barbie Robinson

Audio visual consultant – Christopher Chu.

Canberra Theatre Centre Courtyard Studio, 24 – 26^th October 2025.

Opening night performance on 24^th October reviewed by BILL STEPHENS.

This extraordinary program was devised by Australian contemporary dance pioneer, Elizabeth Cameron Dalman, as a celebration of the evolution of her dance practice over six decades.

During that time, Dalman founded two dance companies, Australian Dance Theatre (ADT) in Adelaide, which this year is celebrating its 60^th anniversary, and Mirramu Dance Company which she co-founded with Vivienne Rogis in the ACT, which is also celebrating its 25^th Anniversary.

An important aspect of Dalman’s career has been the affiliations she has forged during her international travels as a performer and teacher.  Particularly significant among them being strong connections forged with Taiwanese dance artists, Christopher Chu, Yu Ming-chu, Peng Hsiao-yin (Grace), Chen Yi-Ching (Olivia) and Chen Fu-rong (Fufu); all of whom travelled to Canberra to participate in this program, along with Mirramu dancers, Vivienne Rogis, Miranda Wheen, Amanda Tutalo and Tammi Gissell.

Also special was the participation of the unstoppable nonagenarian herself, who not satisfied with recreating some of her most significant dance works, also performed in some, and shared hosting duties with Mirramu Dance co-founder, Vivienne Rogis.

To commence the program, the first part of which was devoted to works originally created for Australian Dance Theatre, Dalman performed Welcome Dance in the striking costume created for a production of Morning Star presented in the National Gallery in 2013.  

Time may have robbed her of some of her dexterity, but Dalman still possesses a remarkable presence. Therefore, the opportunity to witness her perform this work, was a rare and memorable experience.

Notable also was the fact that for the ADT section of the program, the majority of the costumes were the original ones created for the works in which they were danced.

At this performance excerpts from four works created during the 1960/70’s for ADT, the first of which was This Train, a 1965 work performed to songs sung by Peter, Paul & Mary, an American vocal group who had become personal friends of Dalman.

The excerpt featured three of the original seven songs which comprised This Train commencing with “Early in the Morning” danced by Miranda Wheen, Peng Hsiao-Yin (Grace), Fu-rong Chen (Fufu) and Chen Yi-ching (Olivia). A lovely solo "All My Trials" danced by Peng Hsiao-Yin (Grace) followed, then ""Blowin in the Wind" performed by Amanda Tutalo, Miranda Wheen and Peng Hsiao-Yin (Grace). 

Peng Hsiao-Yin (Grace) performing "All My Trials"

Beautifully interpreted by the dancers, this work contained many of Dalman’s signature moves, occasionally bringing to mind the styles of Alvin Ailey and Martha Graham; and also, of Eleo Pomare, with whom Dalman had a long collaboration.

Following this presentation, Dalman shared an amusing anecdote concerning the costume for her 1963 solo, Spiritual, created for her by Pomare. As costumes were always an important part of the development of Pomare's choreographies, before commencing his choreography, Pomare made the costume, cutting out the pattern and pinning the material on to Dalman. Vivienne Rogis then gave an incandescent performance of that solo, wearing that very same costume.

  

Vivienne Rogis performing "Spiritual"

A 1969 work, Creation Duet, inspired by Dalman’s enduring interest in First Nation’s mythology, was remounted for, and performed by Chen Yi-Ching (Olivia) and Chen Fu-Rong (Fufu) to whom Dalman gifted the work, in honour of her connection with their Taiwanese company, Dancecology.

Chen Yi-Ching (Olivia) and Chen Fu-Rong (Fufu) performing "Creation Duet"

Excerpts from a delightfully campy 1969 work, Homage to Botticelli, inspired by a visit to Florence, commenced with the entire company costumed as figures from a Botticelli painting. However, as the work progressed, the dancers transformed into spaced-out hippies, obviously having fun bringing the work to its exuberant conclusion. Aspects of this work probably raised eyebrows in 1969, but at this performance the audience delighted at being reminded of some long-forgotten dance moves.

 "Homage to Botticelli"

 The second half of ECDysis was devoted to works from the Mirramu Dance Company’s repertoire, commencing with a visually spectacular work entitled Mountain Skirts from a longer work, Bride in the Desert, created in 2003 in response to a visit by the company to the central desert of South Australia. Performed by Vivienne Rogis, Miranda Wheen and Amanda Tutalo, the work climaxed with an amazing costume transformation featuring billowing silk sails.

Vivienne Rogis, Miranda Wheen and Amanda Tutalo performing "Mountain Skirts" 

Several works demonstrated Mirramu Dance Company’s interest in social topics.  An excerpt from a 2009 work, River, was created as a response to concerns about the degradation of the Darling River.  An evocative solo, created and beautifully performed by Miranda Wheen for the 2006 work, Tango Lament, as a response to the closure of the dance department at Western Sydney University, and an affecting duet, Refugee, created in Taiwan in 2018 by Dalman and performed by Amanda Tutalo and Chen Fu-Rong (Fufu) on this occasion, needed no explanation.

  

Amanda Tutalo and Chen Fu-Rong (Fufu) performing "Refugee" 

But perhaps the most remarkable performance of the evening was that of Christopher Chu as a silkworm pupa chewing its way through the mulberry leaves  from which he makes the silk, before weaving the cocoon around himself, which introduced the 2002 work Silk, inspired by Dalman’s fondness for that fabric, for which he was joined by Vivienne Rogis and Yu Ming-chu as elegant consumers of his labours.  

The final work of the program was Family Tree created by Dalman with the dancers especially for this performance and performed by Dalman and members of both Mirramu Dance Company together with the five visiting Taiwanese dance artists as a celebration of the inter-cultural and cross-generational connections shared over the last twenty-five years.

Elizabeth Cameron Dalman and dancers performing "Family Tree"

                                                                    Photos by Sigo Tseng

   This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au