MELANCHOLIA – Premiere connects Tap Dancing & Contemporary

MELANCHOLIA

MELANCHOLIA Rating

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3

‘Melancholia is the premiere work of Melbourne’s own contemporary tap dance company, Studio Stocks. Founded by acclaimed tap dance artist Garry Stocks, Studio Stocks pushes the boundaries of percussive dance, weaving elements of contemporary movement with a fresh, genre-defying approach to tap. Audiences explore the depths of loss, pain and grief, while discovering moments of hope and healing through the power of rhythm.

Performed by an extraordinary cast of some of Australia’s most accomplished tap dance artists and rising talents, this evocative work promises to captivate, challenge and resonate with audiences on a profound level. Experience a performance that marks a new era in tap artistry and enjoy the emotional range that tap dance can embody from exuberant joy to deeply poignant reflection.’

That was the introductory write-up, so needless to say as a lover of all things ‘dance’, when I walked into one of my favourite theatres in Melbourne I was about to be in my element witnessing this ground-breaking creative at Chapel Off Chapel. I always enjoy the shows at this very professional boutique theatre and I’ve definitely seen some of the best shows I’ve ever seen here. They are often ‘different’, ‘out there’ and ‘exploratory’.

‘MELANCHOLIA’ – the meaning of the word surrounds depression and sadness, so I was very interested to see how the art form of tap dancing would be combined with contemporary dance to fuse the two; and how the cast would work together to bring about an actual embodiment of ‘joy’ from such a strong meaning in the title word. But this show does just that. You’ll leave happy, amazed and gobsmacked by what you’ve just seen.

Forget the toe tapping sounds done in concerts or musicals with a hat and cane. On stage, dressed in normal clothes (no fancy costumes) are some of the best tap dancers our country has; street style, their style. Blessing us with their ability to tap with the utmost clarity whilst also often moving their bodies in contemporary facilitation to music they also need to be in sync with; I found the concept alone mindboggling!

 

When I enter the theatre there are already six dancers on the stage; it is dark and they seem dark; gazing, sitting, lying, sliding, rolling. It was fun to watch them all and try and work out where their thoughts were and what their story was. Perhaps there was one and perhaps there wasn’t. Then another steps out of the wings in slow motion, and another – circling her feet in something like an imaginary puddle, seemingly not sure if she should step into it or not.

The show fires up and everyone’s on board, brilliant piece after brilliant piece, it is cleverly sectioned for the audience to enjoy and the artists to clearly demonstrate their skill sets both individually and in groups. Four girls. Four boys. Always great to see boys dancing!

It is a rare treat to see a company’s Director/Choreographer also on stage as part of the cast and my favourite was the duet by Garry Stocks and his wife Jade Wood. Garry in his tap shoes and Jade without on her contemporary side; an improbable mix, but they expressively tell a very genuine interpretation of togetherness with the choreography and execution of both styles being impeccable of course (both having performed extensively with the Australian Ballet).

The use of clever lighting in featured spotlights and strobe effects embellish the performance, but also very effective is the use of tiny spotlights hand-held and transferred by the dancers in action. I wonder who thought to incorporate this idea – genius. Loved the part when we were left with light on nothing but the shoes – they bring the absolute brightness here, and the ‘camp fire’ was the final magic touch duly deserving of the standing ovation.

Whilst I was expecting to be surprised with something new, I wasn’t expecting the feelings that I felt watching this show. More than once it sent a shiver, and tears were close on my cheek at the end. It’s not sad though, I think I just realized it was an absolute privilege to be there. I had just seen something totally different, totally out-there and totally exploring new ground.

In summary, the work is actually quite difficult to explain in words and when I asked my dancer daughter her opinion, she said exactly what I was thinking: “it’s like nothing I’ve ever seen before, it’s something you have to go see”. It truthfully is an evolution in dance.

Please, everyone who loves dance, do yourself a favour and check out the website for updates on Stocks Studios’ future productions and opportunities to be involved: https://www.garrystocks.com/studio-stocks

To understand just how good this new dance company is, you must go see them.

CONGRATULATIONS TO THE CAST:
GARRY STOCKS
PAIGE POTE
TIARNA LEIGH
JAYDEN WATSON
BILL SIMPSON
LUCAS THOMSON
CLAIRE STUBS
JADE WOOD

Photographer: Bill Simpson

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

F5 – Presented by UNLID Dance Theatre

F5

F5 Rating

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7

Certainly a different type of show when you walk into the alley laneway next to the Arnold Street Studio to see a performance by three ultra-talented dancers and one super talented choreographer behind the vision ‘F5’ by ‘UNLID’ last weekend. This Premiere follows the company’s inaugural tour to Singapore in 2024 with Part I which I had read about, so I’m excited to see how this performance unfolds.

USA born Jennifer Fleenor-O’Brien welcomes us all with her personable quality and genuine care of the arts. She says though she was ‘technically’ trained in the United States, she was ‘artistically’ trained in Europe (from her many years living and working there). Having now lived bayside in Melbourne Australia for many years with her family, Jennifer (holding a Master of Dance (Hons) from the University of Melbourne VCA Dance amongst many other accolades) is the founder of possibly the newest visionary contemporary dance company in Victoria. Working with her passion out of the company’s base in the Cheltenham studios, she offers dancers who have finished full-time training courses, or those wishing to further enhance their higher dance training, the opportunity to learn and grow in developing performances such as ‘F5’.

It’s a beautiful night, perfect weather, the dancers have a light breeze as the sun dims just enough to create the best light. An ounce of luck there!

We, the audience, are comfortable to stay outside as three all-in-black figures appear, one by one, to the sound of percussion rhythms backdropped by a paling fence and against the red brick wall, with its graffiti just adding to the realism of where we are. There is no ‘stage’ as such, this laneway and the rooms inside will be the ‘stages’ to which we witness this project.

The dancers’ spacing, timing and awareness of each other outside in this unusual environment is so good that at one point I only saw the front dancer with the other two completely disappearing from my view to go behind her in exact matches of lines and extensions. Great opening!

This is very different choreography to ‘…5,6,7,8’. Contemporary dance has no rules, no boundaries, no pre-expectations other than when you see ‘contemporary’ you expect to have some intricate thought process on what it’s about. And that can be different for everyone watching. Our interpretation may not even be similar to each other’s or that of the choreographer or dancers, but I think that’s what makes the world of contemporary dance so interesting, you never know what you’re going to get or how you’re going to feel.

F5 takes us on a day to day (hour by hour) journey in life (that’s my interpretation anyway), i.e. three dancers, three different perspectives on life. Are they lives that are mundane, fulfilling, hurting or joyous? Will they continue to dance alone, in synchronisation or come together in a different way? Are they experiencing or remembering or imagining?

 

Sometimes, in certain situations, we’d all like to crawl under our coffee table, slide forward and scrape ourselves blindly down the kitchen bench, open our wardrobe and change from our boring neutral daywear into a dress of colour, screaming in silence and expressing that we all cope in different ways; falling and surviving at the same time.

Are we being heard? Do we want to skip and run and stop suddenly to meet another person only to be enveloped into their world of darkness or happiness? Is it to be our world? What choices should we make?

I saw movements and uniformity in this show I hadn’t witnessed before in contemporary dance. An element of almost hip hop at times and some amazing partnering combinations, fluidity and cross referencing from where we started in the alley for the first scene, through to the everyday living spaces and finally into the open vastness of a blank canvas room, made for compelling engagement.

We didn’t sit down at all, the audience was standing and then following the dancers through the spaces, using the entire building. When it came time to take a bow (actually 3 or 4 bows), the audience was loud and proud of what they had just seen. Well done girls!

Speaking to some other attendees after the show:
“I didn’t mind standing up, it was excellent. It didn’t have any dull moments, it went fast!”
“My mum cried, it was so captivating.”
“I couldn’t believe they could dance on, under and around the table so well”
“Loved the dancing outside, extraordinary!”
“I thought I knew what was going to happen but I didn’t”
“They were dancing in the moment, I stared straight at them, but I couldn’t shift their gaze”

Speaking to a dancer:
“To be involved was to experience a different aspect of Jen and her work, I have taken her classes before. She has a lot of energy and we worked a lot on very precise movements. Most contemporary dance I’ve done is nothing like what we did tonight. I loved it.”

Speaking to Jennifer (choreographer) on her ideas for ‘F5’:

Conformity by society is what came to mind.

“Mapping the dancers’ own stories to memory, lineage and connecting the audience to take the journey with them that underpins their own personal story within.”

A thoroughly enjoyable show, and the drinks and supper snacks provided afterwards for all the audience to enjoy gave us the opportunity to find out who thought what; and how interpretations differed, but all were impressed.

Congratulations to Jennifer and her dance artists in ‘F5’, Mollie Harrison, Bridget Lyte and Bre Surridge.

I strongly recommend if you’re a lover of dance or any interpretive artforms, look out for their next creative work and opportunities to be involved. Website link: https://www.unlid-dance.com.au/

Dancers may join an Advanced Contemporary class at Space Fest on Monday March 10th from 11am – 12:30pm at The Space and to come along!  Check our the Unlid Dance website for the most current information on classes and upcoming auditions.

Photographers: Lee Harrison, Chrissy Dore Photography, Gnashmas of Singapore

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Finesse: An Australian First

Finesse

Finesse Rating

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11

Whilst always being required of course for Salsa and Latin dance classes, ‘heels’ have rarely been seen in a regular dance school until very recently. Now you can find ‘heels’ classes on many weekly dance timetables at studios everywhere, but reviewing the first specific heels dance show in Australia, is very exciting!

The Siren Heels Company “Finesse” launch on Friday 5th July 2024 promised “delicate, impressive and sexy”. Excellent and engaging dancers, Estelle, Georgia, Jaime, Jessica, Jordan, Kimmie, Liam, Lia, Maddy, Sarah and Vicki, bring the vision together with Director and Founder of the new venture, 25 year old Peyton Leete.

Rehearsals must have indeed been taxing but worth the long hours as their timing and syncopation on the accents of the music is slick and their energy endless. All the dancers, including Peyton herself, are a tight team for the entire program – smooth transitions and incredible stamina is also on show here, and yes, you’ll hold your breath and your heart will skip a beat or two in parts.

Firstly, the music choices on the program can’t be beaten, they are perfectly selected from yesteryear’s Hollywood glamour to a modern day Catwalk vibe. Secondly, great costuming must be praised and it would have taken some very creative wardrobe brains to think of how black lace and a red garter would go strutting alongside a bright orange puffer jacket and make it work!  

In the showcased burlesque items, I wonder what designers of the essential corset undergarment in early centuries women’s fashion would say about these current elegant pieces, which definitely do not seem to hinder any breathing or ability to move.

Act 1 is full to the brim of everything ‘JAZZ’ – A fitting opening “Feeling Good”, choreographed by Peyton, has everyone on-stage and in the audience knowing that a long awaited night is now full steam ahead!

So, let me get right to the point, no dance show taking you back in time is complete without Fosse and a favourite was surely ‘Big Spender’. Originally written for the musical Sweet Charity, I doubt there’s another song even remotely similar that packs a punch like it does. A flashback moment in itself, I remembered performing to this song in my own youth as I watched Maddy’s solo, though the moves were a lot more tame back then (haha), and Maddy a lot more daring!

Fun fact, whilst ‘Big Spender’ is famous for Shirley Bassey and Peggy Lee, it was actually recently discovered that Cilla Black first performed it at London’s Savoy Hotel in 1966, by a forgotten tape found by her family. It makes a memorable moment to watch dancers perform to a song with interesting history. My grandmother would have known the words off by heart and although if she were here today she may not have approved entirely of Maddy’s attire, my 18 year old daughter sitting beside me and listening to the song for the first time, loved it!

‘Jaguar’ performed by Jordan is eye-catching choreography and her technical training is obvious, but her interaction with the audience was what stood out for me with this solo and I’ve seen a zillion dance solos over the years. Her gorgeous persona shone, she was mysterious and told the story she wanted to tell while we listened.

Act 2 is themed ‘FRENCH’ – filling the theatre with anticipation on shadows as ‘Derniere Danse’ dimmed the lights and ‘Fever’ heated up the lighting. However, I had seen in advance that ‘Toxic’ was on next – you know when you want to say turn up the volume, because Jessica definitely did that defining single justice. Then a WOW with ‘Roxane’ (I’m a tango fan), performed by Sarah – insane dancing, flawless execution.

Act 3 titled ‘FAME’ – I absolutely have to give a shout out to Liam for his solo ‘Queen of Pop’. Boys who dance never cease to be an incredible inspiration and steadfastly prove that this industry is definitely for both sexes and who doesn’t love a death drop, especially when you least expect it. The crowd did go wild!

If we were not informed by now that the growing popularity in ‘heels’ classes can incorporate many genres of dance, Kimmie’s talent certainly amplified this in her very rhythmic and more commercial style solo, before the group remix of Britney Spears’ hits was the showstopper highlight.

I won’t give anything else away, there’s a LOT in this show, there’s a lot of dancing, a lot of iconic music, a lot of smiling, clapping, jaw-dropping action, but mostly I would say there is LOVE. Love for dance, love for showcasing dancing in heels with excitement, and of course it’s sultry and sassy from start to finish, so the show suits older teens and adults because it does have mature themes throughout.

Peyton created Siren Heels Company because she wanted to create a space that nurtures passion and creativity. This company is for dancers who want to inspire each other and challenge the ideas of Heels dancing which encompasses many genres and styles. The idea for Siren Heels Company came to her five years ago and she started planning. Her new company embodies the values of treating people fairly, working hard, having fun and supporting each other.

“Heels is often misconceived as being hyper sexualised and in actual fact this show is all about class and fun” Peyton said, and after countless rejections from those who have not always treated her like the professional that she is proud to be, she wants Heels dancing to be appreciated as the art form it deserves to be known for.

If you are interested to see what it’s all about, there is still time to grab a last minute ticket for Saturday 6th July 7pm via trybooking https://www.trybooking.com/events/landing/1230831 or keep an eye out for the next Siren Heels show – auditions are open and this is just the beginning …..

Congratulations to Peyton, who has been brave enough after dancing for more than two decades herself to develop her own dance company and put her heart and love into what she and her cast clearly love, those HIGH HEELS!

ps. the Silver Boots – where do you get them????

NOTE: This show was hosted at Melbourne Dance Centre, Brunswick. Parking is easy in the street or near Coles – walking distance away. The theatre venue is warm with tiered seating and a glass of wine was on offer with a welcoming atmosphere.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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