4Seasons (Expressions Dance Company, City Contemporary Dance Company Hong Kong and QPAC)
QPAC, The Playhouse
June 14 – 22
“I don’t know much about art, but I know what I like,” the old saying goes. With some tweaking, this pretty much describes my approach to Dance… “I don’t necessarily know what exactly they are always doing, but I do know what I find interesting”. And fortunately, there is a lot of interesting things happening in the tapestry that is Expressions Dance Company’s triple act collaboration with Hong Kong’s City Contemporary Dance Company (CCDC), “4Seasons”’
It starts from audience entry into the Playhouse Theatre space, which is bathed in the blare of ‘Summer’. Under a stark sun-like light, 13 performers in muted costumes, move against an increasingly menacing musical score as the ‘sun’ fades. After an early technical fault is fixed, we see order emerge from that chaos as subtle, but uniform transitions signpost to a motif of heads turned to the top in recognition of the sun’s subjugation.
A feeling of oppression features throughout the piece, created by Kristina Chan by CCDC, in its foreboding for a global warming future, not just through the routines themselves, but also lighting and staging, which sees fabric dramatically canopied from the ceiling (the cause of opening night’s false start) not only increasingly rippling, but slowly unfurling as burden upon the dancers. This is a dystopian future and in its extreme atmospheric conditions, suffering bodies cluster together and connect through the swell of canon moves, including on the ground, as they move languidly, as if in slow motion.
In contrast, the night’s second piece, Dominic Wong’s ‘Day After Day’, sees side-of-stage lighting replaced by panels, in transform of the aesthetic. Dancers erupt in a frenzy of acrobatic energy and strength, which sees, for example, see a dancer impressively walking over the top of others and then down another’s chest.
With a fast-paced soundtrack and modern, translucent white costumes, the feel is a lot cooler, especially when Bruce Wong, breathes his way around the set in the slowest of motions, walking to eventually embrace a block of ice before the piece concludes with the sound of falling rain.
Although, like the first work, it drags on a little too long to maintain absolute audience engagement, its repeated movements, intertwined asymmetrical clustering and then explosions punctuate its course with some memorable moments.
Comparatively, Natalie Weir’s ‘4Seasons’ (danced to Max Richter’s recomposed version of Vivaldi’s best known composition) appears to begin traditionally, with dancers appearing hued together (thanks to beautiful, coloured costumes) on stage like something from the Barn Raising Scene of “Seven Brides for Seven Brothers”. What follows is a lot more sophisticated than the Pontipee brothers’ attempt to woo women with their newfound manners, but no less athletic in its physicality. Indeed, its blend of the classic and contemporary creates an exciting aesthetic, especially as movement waves across the ensemble with a progressive series of lifts, jumps and kicks in canon.
Inspired by the seasons of life, it stunningly shows fours couples at different stages of their lives, love and relationships. It could be one couple or different pairings, but the distinction does not matter. What is significant is the humanity of the emotions of the experience being shared. It begins with the pure blush and intimacy of a new relationship between Alana Sargent and Ivan Chan. Things become more urgent then as they move from the eternal youth of spring to the energy and storm clouds of summer. Richard Causer and Bobo Lai convey a torn reluctance as he focuses intensely and possessively on her. With Elise May and Yve Yu, love becomes more consuming in the crimson shades of autumn as impressive lifts give way to domination. Finally, there is the mutual love of Jake McLarnon and Qiao Yang moving together in unison, but not losing their individuality.
Amid these, there are bursts of performers running across the stage, grabbing others as they go and it is nice to see male duos and masculine energy being showcased during this, from a cast of men and women. Along with its crescendoed urgency in its conclusion, this display represents a real highlight, that leaves you lamenting that Act Two feels like it is over far too soon.
As a celebration of the power and splendour of all things contemporary dance, “4Seasons” represents a wonderful experience for dance knowers and lay-audience members alike. And as if the beauty and grace on stage is not enough, Max Richter vibrant melodies liberate Vivaldi’s signature work from elevator musicality to a bold and virtuosic aural experience.
Impressive attention to detail features across all pieces. Indeed, there is a connectedness both within and through all three works, which are also remarkably distinct. Sightline issues are always disappointing, but these are compensated by the fascinating fluidity of the contemporary dance on show, especially in its titular piece. With such a big aesthetic on display there is much to take from the show’s experience, which should be celebrated for its bring of the best of international dance to Brisbane.