IN Cognito: Ballet at the Quarry | Quarry Ampitheatre | Until 11 March | ★ ★ ★ ★ ★
The WA Ballet’s annual season at the Quarry is one of the most enjoyable cultural experiences that rolls around year after year, and expectation is always high given the events long history of delivering a first-rate performance.
It’s a serene escape from the hustle and bustle of busy lives. Ensconced among tall gum trees and the tranquil surroundings, looking over the city lights as the sun sets, it’s a moment to stop and breathe. Enjoying a picnic before the show and a decent glass of wine is also highly recommended. The dancers take to the stage before the show to undertake their warmup exercises, giving us an insight into their preparation and dedication to their artform.
As darkness falls, the show gets underway with four works being performed for the first time. A world premiere from choreographer Alice Topp, along with Australian premieres from Polish choreographer Robert Bondara and American Helen Pickett.
First up was Open Heart Story from Alice Topp. A world premiere for the company. The stage was divided with a strip of red fabric running down the middle, while the sounds of a heartbeat filled the air.
As this piece progressed there were sections that involved twelve dancers, several duets, a solo and a trio performing. One of the highlights was the pairing of Chihiro Nomura and Mathew Edwardson who had the audience’s complete attention as they intricately weaved their way around each other.
Verses was the first of two pieces from choreographer Robert Bondara. Exploring themes of loss and sorrow, it was a romantic and captivating piece to watch.
It featured two of the company’s most impressive dancers Kiki Saito and Juan Carlos Osma who displayed great strength and flawless technique.
The second work from choreographer Robert Bondara was Persona [Fratres]. It is a thought-provoking work that treads a delicate line between comedic moments and interactions that trigger feelings of dread and intimidation.
Alexa Tuzil performed alongside Jack Whiter and Ludovico Ubaldo in the piece that explores who we are in the company of other people, and if we’re a different person when we are on our own.
While it’s an incredibly thought-provoking piece, it might be better described as an emotion-provoking work. One that makes you think about how you influence others; how true you are to yourself and comfortingly, if there’s been times that you’ve been the overpowering one in an interaction or relationship.
The fourth piece in the program IN Cognito was marvelously frivolous, engaging and quirky. Rarely does modern dance have props and sets, but here pot plants and lounge suites were traversing the stage alongside to the performers.
Costumed in green and teal hues the dancers moved at lightening pace with many entrances and exits, often popping up in unexpected places. The aesthetic of the work was reminiscent of stylish American films of the 1960s, but Topp’s inspiration for the work was a pen-pal friendship she stuck up with author Tom Robbins. His literary works include Even Cowgirls Get the Blues, Half Asleep in Frog Pajamas and Villa Cognito from which this ballet derives its name.
This fast-moving performance left you quickly taking in the action occurring on different parts of the stage, blink-and-you’ll-miss-it moments abounded. It was admirable just how tight the dancers were, completely in sync with each other.
The beauty of the annual season at the quarry is you get to experience several different works, all with different themes and styles, and it’s a performance where we get to see the dancers embrace new and modern works. Speaking to other audience members at the conclusion of the opening night everyone had their favourite work among the four pieces that were staged, but all were being equally praised.
Catch IN Cognito: Ballet at the Quarry from West Australian Ballet until 11th March.
Graeme Watson
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