Presented by Leigh Warren and Dancers
Reviewed Thursday 17th May 2012
A direct translation from the Latin reveals that Pari Passu means equal footstep, or equal footing. Mary Moore’s minimal set, Adam Synnott’s music and real-time projections, Benjamin Cisterne’s lighting and Leigh Warren’s choreography have that equal footing, as does the work of the four dancers: Bec Jones, Jesse Martin, Lisa Griffiths and Timothy Farrar. The work is completely integrated, not just all working at the same time, but holistically.
The work is in three distinct parts, Random, Tangled and Synchronic, and this is where the Touch part of the title comes in. Moore’s set consists of two enormous touch screens, both the same height with one twice the length of the other, each set on an angle. Synnott projects his images and videos onto these, beginning with a rock face. This image then starts to undulate, like a wave, increasing to twist itself inside out, eventually transforming completely into waves. The music also moves, travelling around the auditorium and bringing the audience inside the performance, becoming another part of it, not passive observers, but actively engaging.
The dancers then appear behind the screens as silhouettes, starting as a dot in the distance. They reach out towards one another but, initially, do not quite touch. They do, however, affect the images by their presence, creating some amazing patterns. At one point looking like wire-frame outlines. Finally, they emerge from behind the screens and create a further range of patterns by interacting with those touch screens.
The second part finds the dancers working in pairs, Griffiths with Farrar, and Jones with Martin. One pair dances together in an extended pas de deux, while the other pair drop back to the screens, interacting and working in silhouette, than changing over at intervals. The balletic qualities in this work are noticeable, the flowing movements, both reflecting and leading the visuals. The subtle lighting design cannot be overlooked as that it also just as much involved in the work. The dancers, having brought themselves to make some initial physical contact in the first part, carry that further now, holding, lifting and caressing one another sensuously, building the emotional intensity.
The final part finds all four working together, with a lot of unison work, or three in unison with the fourth dancer soloing. There is great precision in their work here and a constantly varying flow of movement. The visuals on the screen have now changed from a recognisable rock face to imagined patterns and movements, at times looking a little like astronomical phenomena. The quadraphonic sound still continues to hold the audience in its embrace, having worked its way through a diverse range of styles, from electronics to strings.
Warren and his dancers have worked together to create a panoply of movements and steps that fit perfectly with the technology or, perhaps, have found a way to make the technology fit perfectly with them. Either way, the dance part of this work is as inventive and superbly performed as we have come to expect from this company.
Warren and his extended company are leading the way in combining performances of live action and technology, and they are well out in front with this latest work, with its seamless integration and equal balance between all of the elements. Catch this excellent production and ensure that you are one of those that can say, in future years when everybody else has caught up, that you saw it all beginning, in Adelaide.
Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.
Venue: Space Theatre, Adelaide Festival Centre, King William Road, Adelaide
Season: to 26th May 2012
Duration: 90mins (no interval)
Tickets: $20 to $49
Bookings: BASS 131 246 or here
