Fiji Untold: A Captivating, Contemporary Journey Through Pacific Folklore

Fiji Untold

Fiji Untold Rating

★★★★★

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When a young girl is banished from her village under the order from the village chief – who happens to be her father, what is a girl to do?

Does she sit in submission, staying stagnant and stuck? Or does she long to fly, fly away, to discover her own adventures beyond the tight fortress of her village home?

The exploration of this story arc is quite common in nursery rhymes and fairy tales. Beauty and the Beast, Alice In Wonderland and even The Little Mermaid come to mind. For this is the journey of self-discovery. When a young girl longs to break free from the confines of her protective home.

In ‘Fiji Untold’, this arc is told via the beauty of Fijian contemporary dance, under a sea of misty blue and yellow light. Where a bright and cheery dance troupe of villagers sing and chant within a dreamy forest landscape. Through sharp, co-ordinated movements, they begin telling the tale of a local village girl Lagi, the chief’s daughter, who resembles an innocent young village princess dressed fanciful In a white and blue printed costume.

But things are not always so stagnant as they seem.

When Lagi dares to break the rules of the traditional Meke dance, and not follow vital instructions, things get complicated.

In repeatedly leaping and pirouetting like a ballerina; even as the villagers try to settle her energy down by lifting her on a giant mat, as if to contain her, she cannot be stopped. As free as a flying bird – her disapproving father and community are at a loss of what to do with her.

So, their choice is simple.

 

Her tribal clothing is removed. Her head bows down in shame. They banish Lagi to the bamboo forest and she runs straight into the unknown. A adventure all her own, where she meets a plethora of creatures great and small.

An old witch. A menacing, female snake. Mythical sticks held by creatures lure her over a makeshift ladder, straight into the realms of the underworld, where she falls to the floor in a spotlight of white.

But in order to learn her lessons, she must face some challenging scenarios. Namely, facing mythical creatures from Pacific folklore.

Firstly, in the spiritual form, she meets five majestically tall women on stilts, looking like giants overhead. Their beautiful costumes shimmer under red lights. A bit demonic and larger-than-life, keen to teach her their ways. Suddenly, mythical creatures appear and circle her, trying to put a spell on her. Another giant whispers in her ear. Slowly, she also transforms into a giant woman.

When her costume disappears, a male creature tries to attack her. She knocks him out, and the other creatures drop their weapons.

Lastly, we meet a colourful, pink-haired, shape-shifting iguana. But he is peaceful, handing Lagi two magical sticks that, culturally speaking, are embodied with mana—spiritual energy. The kind of Chi, a positive universal life force, that helps her realise she must correct her wrongs, discover her power and come back home with forgiveness in her heart.

Fiji Untold is a vibrant show to watch, blending traditional Fijian folklore with bold, contemporary dance and spiritual, mana-driven storytelling. With beautiful costumes featuring tribal touches of spiky-straw detailing, handwoven straw spear-shaped fans, ornate hairstyles and tribal bone necklaces.

These dancers are so skilled at create mystical shapes so effortlessly. Using ornately-made props and hand movements in synch, they can transform any scene into one of legendary beauty, featuring mythical animals and folkloric beasts.

Combining high-octane theatrics and moving scenes, Fiji Untold by globally-acclaimed VOU Dance Fiji is a beautiful, cultural extravaganza that would no doubt be enjoyed by many.

To book tickets to Fiji Untold, please visit https://voufiji.com/fiji-untold-show#fiji-untold-australia.

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Melancholia: When Tap Meets the Human Mind

Melancholia

Melancholia Rating

★★★★★

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Tap dancing, as a whole, would usually bring to mind a nostalgic air of old 1940’s Hollywood, featuring singers and dancers hoofing to high-energy numbers.

Other than Australian Dein Perry’s West End hit ‘Hot Show Shuffle’, and his hit film and show ‘Tap Dogs’ a few years later; I had not seen a contemporary tap show in a while.

So when I excitedly entered the black box theatre at Chapel Off Chapel to see ‘Melancholia’, by Studio Stocks, I knew I was in for a night of absolute, mesmerising entertainment. Mainly, because I knew that Garry Stocks’ contemporary tap production was not only going to deliver a night of high octane, high-energy tap, but is also known to have turned the art of tap on-its-head and inside-out. Taking this specialised dance form to a whole new realm: of thought-provoking entertainment for the modern age.

From the moment this show began, I was immersed by eight dancers slumbering onstage, dressed in beiges, whites, blacks and navy: embodying me in an immediate state of desolation. Encasing the audience in a chasm of moody music, while turbulent sounds strum. Having dancers moving in slow motion, as if locked under a stormy ocean’s currents. Where the mind of an audience can lay still, at least for a while, save for the steady rhythm of the music, and the mercurial lighting matching it.

As the show progressed, it weaved my thoughts in and through: an artstorm of emotional exploration. For each dance number explored the various ways mental health affects our mind. How sometimes, we must face challenging times in our lives, and work out ways to come out the other side.

 

In each tap dance sequence, Stocks successfully expresses these innovative concepts, by taking us on his own profound journey – through the eyes of a restless mind seeking solace. Scenes of dancers tumbling in tormented dreams. A mate-ship scene with Stocks trying to get through the physicality of work through his struggles. Even a show-stopping, heart-wrenching ballet sequence where Stocks exemplifies relationship grief, as he dances a dreamy pas-de-deux – yet the one he loves walks off stage, leaving him alone once again. Yet, straight after, he shows resilience by bonding with his group of friends. With them rallying around him – giving him hope and support. The support of community, that helps us all heal and find resilience when life gives us lemons.

Each of the company’s dancers are deserving of their own accolades, bringing their individual set of energies to this electrifying experience.

Bill Simpson brings a rough-ish, larrikin-style charm to his tap dancing, complete with brown rugged boots and high-octane shuffling, making him a joy to watch.

Claire Stubs brings an air of elegance to her dancing with fluid, graceful movements that pair beautifully with her unique tap style of sleek prowess.

Lucas Thompson, along with his excellent tapping, is certainly a performer to keep watch of, particularly as he has the fluidity and capacity to express the moods of every single dance sequence he appears in; with an air of extreme professionalism.

And finally, former ballerina Jane Wood, who, together with Garry Stocks, performed such touching choreography that it was simply breathtaking to witness. The fluidity of movement in and away from each other, the intertwining of two people so close yet so broken apart from one another, as if in different worlds. This sequence alone, exemplified the emotional toll of grief and how it weaves in and out of our lives. This moment elevated this production to another level completely, leaving the audience spellbound.

Simply said, Melancholia, conceived and directed by Garry Stocks, combined with the mesmerising lighting design by Sidney Younger, and a string of music makers, truly set the heart of the show ablaze – getting the audience to rise to their feet in rapturous applause. Making Melancholia’s opening night a resounding success.

If you are looking for a highly-energetic, rhythmic and forward-thinking tap experience that reaches emotional levels beyond the expected, then Melancholia is the show for you to see right now.

To book tickets to Melancholia, please visit https://www.garrystocks.com/melancholia-studio-stocks.

Photographer: Brodie James, Bill Simpson

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Dancing Through the Storm: Finding Light in Glimpses of Heaven

Glimpses of Heaven

Glimpses of Heaven Rating

★★★★★

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Upstairs in Motley Bauhaus’ cabaret room, I come upon a stage set as the aftermath of a torrential storm. A neglected apartment in shambles – with its occupant nowhere to be seen.

Open bottles of alcohol and soda cans lie half-hazardly across the floor. Fancy women’s clothing slumber in a supine position. So very unfitting, I wish to shake them clean and lift them off the dirty carpet.

The pièce de résistance? A pair of beige boots, stuck mischievously on top of one another on the side of a bookshelf with superglue. As if alive, ready to run amok – but have nowhere left to hide.

Yet above the disarray, progress is being made. Moving boxes are labelled. Rubbish bags are being filled. And within each effort to pack up this apartment, a quick-witted, playful young girl, Hannah, mills around, ushering us to a trip down memory-lane. Namely, the tumultuous experience her musician mother had struggling with addiction, and the complicated relationship they underwent to beat it into submission.

With captivating off-the-wall humour, cleverly directed by Damian Callinan, props are in fact used onstage with a mission – to reel us in further by unlocking Hannah’s personal memories of this deeply challenging time. A dusty Aria award statue is held up to the light not for reverence, but as a weapon of mass destruction – due to its sharp, pointy head. A single shoe is startingly transformed into an ashtray, complete with cigarette butts standing up inside of it – a brand-new work of art inspired by a female rock star, spiralling downwards.

 

But as the show progresses, and Hannah’s heartbreaking story unravels, one can see through the paradoxes of addiction: that two things can be true at the same time. Like a see-saw, memories can exist between tenderness and darkness. Little ditties can be sung on a guitar to settle nerves and balance heaviness. A Spice Girls dance can ground and steady us through the wobbles of confusion. The loving eyes of a mother can start to slip away and become unrecognisable to a daughter’s eyes, even though her heart is still pounding strongly.

That flying a little too close to the sun can bubble under the weight of pressure – of an unforgiving music industry ready to take its next victim.

Complexities aside, here is where I congratulate the shows writer and star, Mary-Agnes O’Loughlin. For not only providing a beautiful voice and graceful miming movements to bring this tale to life, but in honouring Hannah’s truth of a very headstrong girl having to deal with a mother experiencing life-threatening addictions.

Not by shutting it out. Nor by dodging it or avoiding it. But by dancing through its storms.

That for Hannah, fortitude was needed. This meant choosing to dance through the fire. Through the highs and the lows. Through bamboozlement and confusion. For the show’s star, Mary-Agnes O’Loughlin, speaks a different language of bravery – using rhythmic movement as a psychological coping mechanism – to let the ugliness of her mum’s addiction flow through her and be released. In order to see it as a seperate entity – to the unconditional love she has for her mum. Planting her at the centre of her mother’s recovery journey, even beyond the disease itself – helping save her life in the process.

In all, Glimpses of Heaven, weaves a beautifully balanced tale of how a mother’s love can affect our soul’s growth, through the good and bad. That each family have their own set of dynamics, even if not set by social norms. That a mother’s love, even mixed with complication, can still lead us forward: to the full experience of being human.

To book tickets to Glimpses of Heaven, please visit https://www.melbournefringe.com.au/whats-on/events/glimpses-of-heaven.

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The 80s Are Definitely Back!

Momentum

Momentum Rating

★★★★★

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Momentum
Produced by JT Performing Arts Company and Sydney Fringe Festival
at Chippin Street Theatre

This is a dance focused piece by a new theatre company and a group of young dancers. It shows a series of vignettes of various themes with some dance solos mixed in between. It has overwhelmingly heavy 1980s influences, in dance style, music and look. Even if some of the songs were written later, they all have 80s call backs. There are four core dancers and three soloists. The four core dancers do work their butts off, as these sections are quite long and relentless.

Before the show started, I was looking through the digital program. It always alarms me when there is so much explanation of a work in the program, this is either a sign of no clear point of view or over intellectualising. I think in this case it was a bit of both.

Chippin Street Theatre needs to replace their speakers. They are both blown out. I would recommend wearing ear loops or eye plugs as the music is at a deafening level the entire time. This is very distracting throughout the show.

 

The three soloists Jasmine Bowtell, Ashley Miller and Alyssa May really stood out. Yes, they had less to do but they all had clear focus of their intention with what they wanted to say in their solos. Ashley and Alyssa should consider focusing on cabaret dancing as they definitely have the height, extension and look for it. These jobs could help them travel the world with their careers. Jasmine Bowtell would have to be the best dancer of the night with beautiful technique and a natural grasp on raw emotion, that you could tell she was feeling with every fibre of her being. Her first solo was a particular stand out.

Out of the four core dancers there was definitely a difference in ability, which became most apparent in the unison dancing. Sometimes the steps were right, but style was not consistent and clean between the four. I wonder if this was opening night nerves and perhaps this will improve in the run. It is quite a marathon for them. Perhaps shortening the sequences and adding more solos would have helped the pace and stamina.

Out of the four core dancers Mia Ryan really stood out. Her precision with every step made it very clear who dominated the “company” collaboration choreography. My eye was always drawn to her every time she was on stage. I would have liked to have seen more solos by her.

JT Performing Arts Company is a brand new theatre company and this is their first outing. I know a lot of hard work and energy went into producing the show and that is an accomplishment in itself.

Momentum runs until Saturday 26th.

To book tickets to Momentum, please visit https://sydneyfringe.com/events/momentum/.

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