Bal­let

The Weekend Australian - Review - - Out & About - Deb­o­rah Jones Jane Al­bert DJ Christo­pher Allen CA

Syd­ney Dance Com­pany’s New Breed ex­ists and why it works. Doyle doesn’t have an ex­ten­sive chore­o­graphic re­sume but has a big hit in this year’s an­nual sea­son of short new works. Five peo­ple sham­ble on to the stage, mum­bling. They wear haz­mat suits, or some­thing re­sem­bling them. For these women and men the thin, trans­par­ent ma­te­rial seems to be more a psy­cho­log­i­cal crutch than any­thing re­motely use­ful against dan­ger­ous sub­stances. Sur­pris­ingly Out, Damned Spot! is mov­ing and, even bet­ter, is a work that never sig­nals what it’s go­ing to do next. It’s a de­light, achieved in just 11 min­utes. Car­riage­works, 245 Wil­son Street, Eveleigh. To­day, 2pm and 8pm. Tick­ets: $35. Book­ings: 1300 723 038 or on­line. Du­ra­tion: 75min. re­cently has found re­newed strength and in­spi­ra­tion drawn from David’s mem­ory with Ban­garra’s next show, Dub­boo, a cel­e­bra­tion of his brother’s life. Car­riage­works, 245 Wil­son Street, Eveleigh. To­day, 1.30pm and 7.30. Tick­ets: $45-$60. Book­ings: 1300 723 038 or on­line. Cin­derella Jerome Kaplan’s sur­re­al­istin­spired de­signs for Alexei Rat­man­sky’s Cin­derella are a mas­ter­stroke, rig­or­ously ban­ish­ing sen­ti­men­tal­ity and rev­el­ling in fab­u­lous vis­ual high jinks. In this Cin­derella, made es­pe­cially for the Aus­tralian Bal­let, you can hardly get a pin be­tween dream and night­mare, which is as it should be: Prokofiev’s of­ten melan­choly and wist­ful score is the sound of hope tinged with uncer­tainty. The mu­sic is un­justly less fa­mous than the com­poser’s Romeo and Juliet, and Ni­co­lette Frail­lon and the Opera Aus­tralia Orches­tra, a few brass wob­bles apart, did it proud. Syd­ney Opera House, Joan Suther­land The­atre, Ben­ne­long Point. To­day, 1.30pm and 7.30pm. Tick­ets: $35-$286. In­quiries: (02) 9250 7111 or on­line. Un­til De­cem­ber 19. which we can watch the re­trac­ing of his three voy­ages in suc­ces­sion: a sim­ple, al­most child­ish di­dac­tic tool, yet one that forces us to con­tem­plate some­thing of the ex­traor­di­nary real­ity of spend­ing years criss­cross­ing dan­ger­ous and un­known oceans in a small ship. Na­tional Li­brary of Aus­tralia, Ex­hi­bi­tion Gallery, Parkes Place, Can­berra. Mon-Thurs, 10am-8pm; Fri-Sat, 10am-5pm; Sun, 1.305pm. Free en­try. In­quiries: (02) 6262 1111 or on­line. Un­til Fe­bru­ary 10. Cal­i­for­nia Cool Woody Allen — or his al­ter ego in An­nie Hall — ex­plained the tidi­ness of the streets of Los An­ge­les by the fact “they don’t throw their garbage away, they turn it into tele­vi­sion shows”. Some­how this barb seems to epit­o­mise the cul­ture of LA in the 1970s as sur­veyed in this cu­ri­ously eclec­tic ex­hi­bi­tion, which cov­ers ev­ery­thing from Ed Ruscha’s co­pi­ous and bland semi-con­cep­tual art to soft­core porn of gay beef­cake mag­a­zines. Cool, in­deed, as the ti­tle of the ex­hi­bi­tion sug­gests, is the defin­ing qual­ity of the sen­si­bil­ity that un­der­lies these works, or one might in­deed say in­sen­si­bil­ity, for cool is ul­ti­mately an at­ti­tude of dis­en­gage­ment and in­dif­fer­ence. More ex­actly, it is a su­per­fi­cial aes­thetic re­sponse to nov­elty of de­sign with­out con­tent, be­lief or con­vic­tion. Na­tional Gallery of Aus­tralia, Parkes Place, Parkes. Daily, 10am-5pm. Free en­try. In­quiries: (02) 6240 6411 or on­line. Un­til Fe­bru­ary.

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