Martin del Amo is best known perhaps for his amazing solo works such as ‘It’s A Jungle Out There’ ( 2009). He has also turned to exploring more choreographically for example with the 2012 Sydney Festival work, ’ Anatomy of an Afternoon’. For this latest work ’Slow Dances for Fast Times’, which has been three years in development, del Amo presents twelve miniature, very intimate choreographic portraits.
Carriageworks has been transformed – it is as if we are in a plush theatre of a bygone age, entering on red carpet and the huge stage area of Bay 20 is niftily utilised, with elegant red velvet curtains, a chequered floor , scalloped footlights and a glittering mirror ball. Matthew Marshall’s dramatic lighting is excellent.
To an eclectic mix of music ranging from ABBA to opera, Radiohead to Dusty Springfield, we are treated to twelve quality short solos excellently performed by twelve different dancers of varying ages, physical build and cultural and artistic background. Drama, passion, humour and irreverence are sprinkled through-out.
Each solo presents a different view of society, is an examination of various points of view of an environment of perceived conformity and sameness – or are they?!
Moods are contrasted: Sometimes there is a feeling of hidden secrets revealed, at other times there is an improvisational air. All pieces are performed with passion and commitment.
Followers of Del Amo’s choreographic style will know that it can be somewhat minimalistic. There are twitches (and also some virtually orgasmic – or epileptic ‘fits’) . Generally speaking everything is extremely controlled. There is a particular use of the Fosse – like pose with arched back and star-like hands.
Del Amo’s choreographic style requires a long curved line at times and great fluidity. Isolation movements (for example a knee , a hip , of the neck ) are used , angular elbows and there are repeated phrases of movement.
An excellent opening was provided in ‘Always One Foot on the Ground’ by the tall, imposing Elizabeth Ryan in white and gold who was smoothly robotic and angular ( to ‘Fidelity’ by Regina Spektor) .
In ‘What Goes Around Comes Around’ Jade Dewi Tyas Tunggai smoulders magnificently in a long blue-grey evening dress to a Spanish pop lament ( ‘Soy Infeliz’ by Lola Beltran ). Is the conclusion, with her hair down meant to be wild, ‘Giselle’ like , or Butoh inspired?!
Luke Smiles in ‘Hurry up’ (to Blondie’s ‘Sunday Girl ‘ ) has a wonderful, exuberant childlike solo full of runs and skips.
Benjamin Hancock gave an extremely different, fresh interpretation to that of Graeme Murphy’s of one of Canteloube’s limpid and luxurious songs from the Auvergne, at times like a startled faun exploring the dawn of a new day.
Jane McKernan in ‘Tomorrow Never Comes’ (‘Ruhe Sanft ‘– Mozart – as sung by Kiri te Kanawa) was amazing , limpid, elegant and floating in black for the concluding solo.
The final ‘bonus track’ involving the entire cast was a great crowd pleaser.
SLOW DANCES FOR FAST TIMES played at Carriageworks between the 6th and 9th March, 2013. The performance ran 1 hour and 10 minutes without interval.
© Lynne Lancaster
11th March, 2013
Tags: Sydney Stage Reviews- SLOW DANCES FOR FAST TIMES, Martin Del Amo, Matthew Marshall, Elizabeth Ryan, Jade Dewi Tyas Tunggai, Luke Smiles, Benjamin Hancock, Jane McKernan, Sydney Arts Guide, Lynne Lancaster
