Dance at Adelaide Pageant 2023
Adelaide Pageant 2023 is kicking off this week, and also you received’t wish to miss among the thrilling dance occasions occurring at this 12 months’s competition. Learn on for among the dance highlights and riveting dance works!
Revisor by Kidd Pivot, created by Crystal Pite and Jonathon Younger
(17 – 19 March at Her Majesty’s Theatre)
From the creators of Betroffenheit, the celebrated hit of the 2017 Adelaide Pageant, comes an exhilarating new dance theatre work about corruption, deception and the forces of radical change.
Revisor once more brings collectively the extraordinary skills of choreographer Crystal Pite and theatre-maker Jonathon Younger. Pite is famend for her thrilling, ingenious choreography and is among the most in-demand choreographers on the earth; Younger is one in all Canada’s best-known actors and a extremely revered playwright.
The farcical world of Nikolai Gogol’s The Authorities Inspector serves because the inspiration for his or her astonishing new work. Revisor is a real hybrid of dance and theatre with startling depth and complexity. Voiced by actors, the recorded script gives the rating for Pite’s arresting choreography, delivered to life by the exceptional dancers of acclaimed Vancouver-based firm Kidd Pivot.
Mining the potent relationship between language and physique, it is a virtuosic work exploring battle, comedy and corruption from one of the thrilling dance theatre firms on the earth.
For tickets for Revisor, go to www.adelaidefestival.com.au/events/revisor.
Tracker by Australian Dance Theatre, in association with ILBIJERRI Theatre Company
(10 – 18 March at Odeon Theatre)
In one of his first works as Artistic Director of Australian Dance Theatre, Wiradjuri director-choreographer Daniel Riley evokes an immensely powerful and personal story of his great-great Uncle, Alec “Tracker” Riley.
Alec, a Wiradjuri Elder and tracker, served the New South Wales Police Force for 40 years, leading numerous high-profile cases. As an Elder of his community, he forged a path between the enforced colonial system in which he worked and his Wiradjuri lore. Tracker takes inspiration from his legacy and examines the battles First Nations people have shared for generations.
Weaving together dance, music and text, Tracker invites the audience into an open and transformative ceremonial space. This remarkable story is brought to life by a team of celebrated First Nations creatives, including award-winning playwright Ursula Yovich, co-director Rachael Maza AM, composers James Henry and Gary Watling, visual artist Jonathan Jones, lighting designer Chloe Ogilvie and an all-First Nations cast.
Culturally rich and ambitiously original, this multidisciplinary work rethinks how we engage with and experience First Nations storytelling.
For tickets to Tracker, visit www.adelaidefestival.com.au/events/tracker.
Jurrungu Ngan-ga [Straight Talk] by Marrugeku
(10 – 12 March at Dunstan Playhouse)
Brimming over with unhappiness, anger, pleasure and steely resistance, Jurrungu Ngan-ga is a deeply affecting and pressing work by one in all our nation’s most progressive dance theatre firms that confronts Australia’s shameful fixation with incarceration.
This breathtaking new work connects the shockingly disproportionate ranges of Indigenous Australians in custody and the indefinite detention of asylum seekers in Australia’s immigration detention centres.
Jurrungu Ngan-ga, translated from Yawuru as ‘straight speak’, takes inspiration from the phrases and experiences of Yawuru chief Patrick Dodson, Kurdish-Iranian author and former Manus Island detainee Behrouz Boochani, and Iranian-Australian scholar-activist Omid Tofighian.
Mixing motion, music, soundscape, spoken phrase and projection, Marrugeku’s distinctive intercultural work displays the influence of government-sanctioned brutality. The corporate’s exceptionally proficient dancers evoke darkish points of the Australian psyche, drawing on cultural and neighborhood expertise to maneuver deftly between horrific surrealism, truth-telling and beautiful physicality.
With darkish humour and braveness, Jurrungu Ngan-ga interrogates our capability to lock away that which we concern and shines a lightweight on new methods to withstand.
For tickets to Jurrungu Ngan-ga, go to www.adelaidefestival.com.au/events/jurrungu-ngan-ga.
Messa da Requiem by Ballett Zürich, choreography and manufacturing by Christian Spuck
(8 – 11 March at Pageant Theatre)
Verdi’s mighty Requiem is a sacred oratorio with opera coursing by means of its veins. It runs the gamut from whispered pianissimos to among the most shattering climaxes ever written. Christian Spuck – who received the ballet world’s high award for greatest choreographer in 2019 – thrusts this already spectacular work into a brand new orbit, completely integrating the eighty-strong choral ensemble into the maelstrom of his extraordinary staging.
Oratorios have been theatricalised earlier than, however it is a pioneering piece. Each contour of Verdi’s rating is given bodily form. The massive mass of humanity is moulded to develop into a tidal wave, a ship’s prow, some gigantic reptilian beast, whereas the dancers’ wonderful solos and intertwining ensembles poignantly categorical the composer’s imaginative and prescient of demise as each particular person’s most solitary and mysterious problem.
The Adelaide Pageant has introduced many large-scale theatrical occasions, however this work is unprecedented in its magnitude. Over 170 Adelaide singers and musicians be a part of 36 dancers from one in all Europe’s most revered ballet firms to carry out a complete murals that might be talked about for years.
Whether or not you like opera, dance, choral music, theatre or all 4, a profound expertise awaits.
For tickets to Messa da Requiem, go to www.adelaidefestival.com.au/events/messa-da-requiem.
For the total program and extra data on this 12 months’s Adelaide Pageant, go to www.adelaidefestival.com.au.
