Abintra

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This is Bonachela's first full-length work in six years, and it illustrates his development from synchronised collective movement to more interesting group choreography that allows for individuality and small-scale variations. But if it's the way he made ab [intra] into a bold and attractive show, that's what matters. A program note explains its low-energy LED fixtures drastically reduce the production's energy footprint. The season of ab [intra] continues until May Yet they dance with such grace and apparent ease that the mechanics of their technical skills don't get in the way of an entrancing partnership.

Abintra


Advertisement He has produced a series of physical challenges for the Sydney Dance Company that, once again, its dancers overcome with impressive athleticism and energy. How will they get out of it? Cooper's lighting is unusual and atmospheric, and I hope it illuminates the performers to the back of the theatre. The intricate entanglement of their limbs has to be seen to be believed — and even then it is something of a mystery. How did they get to that? Nick Wales' original music, to which he has added some by Peteris Vasks, is uncharacteristically intrusive to my ears, but well played and sensitively balanced. A program note explains its low-energy LED fixtures drastically reduce the production's energy footprint. But if it's the way he made ab [intra] into a bold and attractive show, that's what matters. Charmene Yap and Davide Di Giovanni's ab [intra] duet has to be seen to be believed. This is Bonachela's first full-length work in six years, and it illustrates his development from synchronised collective movement to more interesting group choreography that allows for individuality and small-scale variations. I honestly couldn't judge. The season of ab [intra] continues until May Wave upon wave of theatre smoke often has the dancers performing in a luminous mist and sometimes in silhouette — they certainly look great from a front seat. In the final section, he lines up the company to play a role in David Fleischer's plain, open set design, dramatically lit by Damien Cooper to look like a row of Easter Island statues only partially on view — until one, and then another, steps forward. Yet they dance with such grace and apparent ease that the mechanics of their technical skills don't get in the way of an entrancing partnership. There are other notable duets — in particular, Janessa Dufty with Izzac Carroll — and solos, including a bold athletic push by Nelson Earl, as well as ensembles of up to 15 dancers. He says he wanted to capture his internal instinctive creative process and make an external representation of it.

Abintra

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