Structural Dependency, Brooke Leeder & Dancers · State Theatre Centre, 4 February 2021 ·
A person of my favourite soapbox matters is the underneath-acknowledged excellence of Western Australian unbiased contemporary dance. And 1 of my favorite independent nearby choreographers is Brooke Leeder.
So I was thrilled when I discovered her ensemble, Brooke Leeder & Dancers, would be presenting her perform, Structural Dependency, at this year’s Perth Pageant. Getting already noticed two iterations of the perform, I felt self-assured it would be a winner on the Competition phase. On opening night my hunch was confirmed.
Anything about Structural Dependency feels purposeful, starting up with the title, which neatly encapsulates the work’s intention. As Leeder clarifies in her method notes, Structural Dependency explores the framework of choreography, and how its components – motion, area, seem and the viewer – depend on a person one more.
As it was in its enhancement seasons, this yr the show is offered in a studio space, with a reasonably smaller viewers seated in two rows, one on each facet of the dance ground. The arrangement produces a feeling of immediacy we are physically close to the dancers and they are capable to blur the boundaries involving them and us, no matter if navigating a route of dependency on our bodies, sitting down in just our midst, or simply generating strong eye contact with us.
There’s something minimalist about the get the job done – in the simplicity of the dancers’ all-white outfits and the unadorned studio space. The motion, much too, feels minimalist in that it is normally repetitive but, like all terrific minimalist is effective, hardly ever monotonous. That’s partly mainly because Leeder produces motion that helps make you want to see it once again – regardless of whether it is an expansive lunge, a rippling dive, or a precariously well balanced entire body – but also due to the fact she is master of the delicate variation, be it a big difference in orientation in area, lights condition, rate, grouping or shipping.
As Leeder promises, the interdependence involving the motion and the structure aspects is intensely fulfilling. Louis Frere-Harvey’s rating is composed of repeating appears – from driving, drumming rhythms to ominous whirrings and sirens – that accumulate and dissipate in trying to keep with the movement. Similarly, Nemo Gandossini-Poirier’s lights carves the house with shafts, places, or washes that appear to both of those go and be moved by the dancers.
It’s hard to single out highlights since the perform is these a cohesive full, but a sequence in which the dancers frequently cluster just before surging a single member into the air is a person. Notably productive is the first of these, in which a dancer (Lilly King), is pressed in opposition to a wall as sirens and dense blue light-weight develop a perception of urgency. She looks to float for a minute in advance of the drop that we know must happen.
In the work’s many solos there are many times of note – Nikki Tarling’s waving, rippling kind, which Celina Hage appears to be to channel and make her have the contrast amongst Lilly King’s deliciously deep pliés and legs that slice the air the intricate class of Scott Elstermann the unquestionably clean control of May perhaps Greenberg. When the group will come together to dance in sync, we see elements of these solos simplified and amplified – undulating dives, spiralling turns, legs that carve parabolas – as the dancers charge about the area, regrouping and setting up to the work’s finale.
The opening and closing sections are my favourite, even so, for their simple nevertheless intelligent use of repetition, and for Frere-Harvey’s poignant damaged chords.
As Leeder claims, the results of this get the job done lies in the integration of, and interaction between, its a variety of design and style things … but it also lies in the high quality of each individual of these things: the choreography, the composition, the lights design, the costumes, the style of the place and, of system, the dancers, who conduct this intricate however athletic work with electrifying electricity and handle.
A number of weeks in the past, I remarked on the achievement of Co 3 Contemporary Dance in exhibiting Perth that our personal dance artists are extra than able of building an international, Pageant-conventional work. That this has been achieved by an impartial ensemble is even additional spectacular, and a effective argument for the price of investing in WA’s independent dance sector.
Structural Dependency is proof that we don’t have to have to open our borders to see world-typical present-day dance – it is right below in our yard.
Structural Dependency is in the Point out Theatre Centre’s Rehearsal Place until eventually Saturday, 13 March, 2021.