Trans-Tasman Dance Collaboration Gloria Illuminates Perth with Easter and Anzac Themes
In a powerful fusion of art and remembrance, Co3 Contemporary Dance Australia and The New Zealand Dance Company have delivered a stirring performance titled Gloria at His Majesty's Theatre in Perth this week. This trans-Tasman tour de force, featuring the WA Symphony Orchestra and St George's Cathedral Consort, serves as a poignant prelude to both Easter and Anzac Day, weaving themes of sacrifice and glory into a triple bill that captivates audiences.
A Tribute to Legacy and Farewell in Lament
The evening commenced with Lament, a deeply moving piece by Moss Te Ururangi Patterson that reflects on the Maori Land Wars of the 1860s. This work not only pays homage to the late Kiwi choreographer Douglas Wright but also marks a farewell to Raewyn Hill, the departing artistic director of Co3. Dark, resonant bass and percussion set the stage for frenzied dancers shrouded in mist, evoking the fog and friction of war through Haka-like routines infused with balletic grace.
Chantelle Gerrard's costumes, reminiscent of faded early settler styles, combined with Mark Haslam's subdued lighting to cast a sepia-tinted luminescence. The performance built to a crescendo of tumbling, stumbling steps filled with anguish, channeling aggression and its aftermath before fading into a somber mood of loss and regret.
A Moving Portrait Explores Frailty and Grace
Following this, Arvo Part's translucent Tabula Rasa provided the soundtrack for Raewyn Hill's A Moving Portrait. A quintet of Co3 artists, clad in sepulchral white, enacted a gentle portrait of frail age, with limbs entwining to form an undulating mass that swayed to the Australian Chamber Orchestra's recording. Akira Isogawa's costumes hinted at faded glories, yet the dancers beneath remained lithe and supple, showcasing Hill's artistic prowess in what may be her swansong with the company.
Gloria: A Theatrical Fanfare of Faith and Devotion
After the intermission, the headline work Gloria brought both dance companies together with the WA Symphony Orchestra and St George's Cathedral Consort. This piece, traditionally reserved for Lent but presented here before Easter, opened with a septet of dancers in silent prayer before Vivaldi's bright Baroque score filled the theatre under Joseph Nolan's baton.
Choristers proclaimed "Gloria in excelsis Deo" as dancers moved across the stage, with pastoral themes and folkloric dance measures emerging in sections like "Laudamus te," featuring soaring vocals from sopranos Bonnie de la Hunty and Lucinda Nicholls, along with altos Amber Lister and Anita Saxby. The performance built through dramatic sequences, such as "Gratimus agimus tibi," and culminated in a solemn alto lament for "Domine Deus, Agnus Dei," depicting the agony of crucifixion.
Struggle gave way to reconciliation in a Pieta-like moment, followed by eight dancers pulsing with athletic prowess in "Qui sedes ad dexteram Patris." The finale saw "Gloria" ring out with burnished brass and a rich choral "Amen," leaving a lone dancer hovering above the stage, symbolizing the balance between heaven and earth.
Looking Ahead: Raewyn Hill's Departure and Future Plans
Raewyn Hill, who has served as the inaugural artistic director of Co3 for 12 years, will step down in December. She will continue to oversee planning for the 2027 season while the search for her replacement is underway, ensuring a smooth transition for the company's future endeavors.
This performance of Gloria not only highlights the collaborative spirit between Australian and New Zealand artists but also underscores the enduring relevance of themes like sacrifice and glory in contemporary dance, making it a must-see event for theatre enthusiasts in Perth.
