두물머리 Dumulmeori (where two rivers meet): ⭐⭐⭐
두물머리 Dumulmeori (where two rivers meet) features a four-part bill of choreographer-performers from South Korea and Australia. Audiences are promised to be transported by artistry that transcends borders. However, it feels like separate solos rather than a unified show that shares any commonality.
Man-il by Haneul Jung opens the show connected to an elastic tether to represent a story of independence – however, intentionally or not, it looks a lot like an umbilical cord. The use of this elastic was interesting but a livelier and more rhythmic score would have enhanced the impact of the piece. A Figure of Speech by Alisdair begins with a compelling A.I.-led premise that engages audiences. However, the text and choreography move out of coherence, blurring focus between reading and watching. The Value by Michelle Heaven lands as a lighter, 80s-tinged piece, in part to Keith Tucker’s warm lighting and Jenni Langford’s funky costuming. With a quirkier and less serious energy, it is also the show’s outlier without the intricate choreographic style the other pieces share. Diver by Chosul Kim showcases Kim’s incredible physicality, emulating a duck in a pond. The storytelling in this piece was particularly well supported through Tucker’s considered lighting.
The dancers are all evidently strong in technicality, control and physique but pacing and audience engagement consistently lulls under the repetitive soundscapes used by all pieces. An interesting observation is that the Korean works feel more self-contained whereas the Australian works are more audience-facing. Across the bill, the pieces have interesting concepts – more synchrony and dynamism in the choreography and scores would have made this a more engaging show, even for audiences who are familiar with contemporary dance.
Long Sentences: ⭐.5
Rhiannon Newton’s Long Sentences unfolds as a solo built on repetition. The initial premise was interesting with Newton orating live along with calculated and precise choreography which is an admirable feat. However the execution falls flat due to many disparate elements – the use of the looping sound, spinning disc and rock lend to thematic confusion.
There were moments of interest, largely driven by intrigue of how Newton will utilise the props available. In particularly slow moments, lighting by Karen Norris aided by adding some visual interest in a very grey palette. Largely, the dark lighting, repetition and little context forces the audience to decipher rather than feel – resulting in disengagement rather than accumulation. The theme and its execution is too faint to hold focus, and audiences are sentenced to this experience, pining for musicality and variation to justify the duration.
