Wednesday 3 June 2026

Review by Paul Neeson (Arts Wednesday)

Tubowgule always was and always will be Aboriginal land and the Bangarra Dance Theatre stamped their ownership on the stage of the Joan Sutherland Theatre once again with their latest production Sheltering. The work is a triple bill comprising two dance pieces and a short film.

Prior to the show, Artistic Director and Co-CEO, Frances Rings and new Director of Community Relations, Kirk Page spoke to the audience about the Company and the works we were about to see. We were introduced to emerging choreographer, Glory Tuohy-Daniell who spoke to her work Keeping Grounded and her approach to the connections between earth and country. We also met dancer and filmmaker Daniel Mateo who introduced his film, Brown Boys. Both were shy speaking to such a large audience but equally passionate about their works.

It always amazes me that such talented dancers who can portray such strength and power with their bodies, can’t project that fortitude with their voices – unlike Frances Rings who was very much at home with a microphone and a keen crowd. That is why she was appointed Artistic Director. She informed us that she choreographed the final work in the program, Sheoak, back in 2015 as response to words spoken by then Prime Minister, Tony Abbott that caused great offence in indigenous communities. Apart from describing Australia was “nothing but bush” when colonised (a subtle yet obvious reiteration of the atrocious ‘terra nullius’ theory), followed by a most offensive remark that taxpayers should not be expected to subsidise the “lifestyle choices” of people living in remote areas. With provocation like that, only great art can come of it.

Holding Ground, Bangarra (photo Daniel Boud)

Keeping Grounded opened to a dimly lit stage with an amorphous cluster of bodies gestating into life as the lighting (Karren Norris) gradually increased. Slowly individuals emerged from the writhing mass. Tuohy-Daniell’s choreography was elegant and fluid at first, becoming frantic and troubled over time as the connections to earth were interrupted. A large net lowered from the ceiling was an inspired choice from Set Designer Shana O’Bren, as the large holes in the net allowed the performers to be either tangled in the net, to pass through it or to hang from it. Was it a trap (as in fish net) or was it the canopy of a forest where the inhabitants could play and forage?

The real trap came later in the form of a blue-grey jacket (Costume Design Clair Parker) with elongated sleeves, like a straight jacket. The wearer of the jacket struggled against its restrictions, and when the wearer finally broke free it immediately ensnared the next victim in what could perhaps be a metaphor of the restraints of westernisation, colonisation and the detachment from country that resulted.

Daniel Mateo, Brown Boys (photo Cass Eipper)

Daniel Mateo’s film, Brown Boys, centred around his poetry and solo dance. The visual style (Director Cass Mortimer Eipper) was beautiful to watch with its slow camera work and dissolves. The poetry unfortunately was a little lost as we were distracted by the look of the film and spoken word is not usually expected in a dance performance. We were deeply moved by the work but I felt I needed to see/hear it again to elicit greater meaning from the words. Mateo’s dance and looks to camera were hard to ignore because of the amount of expression he could summon from his engaging eye contact.

Sheltering, Bangarra (photo Daniel Boud)

And finally to Sheoak. If Brown Boys focused on the boys, this one had a story more about girls and women. The Keeper (Chantelle Lee Lockhart) was solid and powerful as the elder and thus holder of knowledge, teaching the young girls (represented by Kassidy Waters) the way of the clan, the sacred rituals and in the end how to interact with the men. Frances Rings’ choreography shows the growth of young girls from awkward children with naive moves, right through to the confidence of mature mothers giving birth. The boys on the other hand are dynamic and assertive, brimming with it, at times, the violent energy of blood soaked warriors. Special mention has to go to Kallum Goolagong for the most extraordinary shoulder dance I’ve ever witnessed. Bending forward touching his toes, his shoulders started to move like two sentient creatures with minds of their own, mimicking each other and coming together in an exquisite pas de deux des épaules. You really have to witness it to believe it.

The score was composed by the legendary David Page who, along with his brother Stephen, was a big part in establishing Bangarra as an international arts organisation. His stunning at times overwhelming music guided us through a variety of scenes that ranged from energetic interplay of the young men to some sublime movements in the second act. The lighting, atmospheric and evocative throughout, helped shift the mood when needed. A standout was the moment when the stage went to black (eliciting a premature applause) then a lone figure appeared in the dark wearing a shimmering light encrusted shawl. As the dancer unfurled the shawl and lowered it to the floor covering a hidden 2nd dancer, the shawl came to life being manipulated by not 1 but 2 invisible dancers. Also there were the remarkable costumes by Jennifer Irwin, particularly the skeleton costumes.

The wooden staff that the Keeper employed was reflected throughout the work as poles carried by the dancers (digging sticks?) to the ribs suspended from the ceiling that swayed in and out of the troupe adding to the tension. The seven ribs (always a great prime number) were caressed, attacked and stroked, eventually being stacked into a rudimentary shelter for the cast to fall asleep in under the watchful eye of the Keeper as the final light fades.

While the work includes a revival and a reimagining separated by a short film, Sheltering was a compelling and immersive total experience where the whole was far greater than the sum of its parts. Bangarra delights and challenges its audience yet again. The mob in the room went crazy as the dancers introduced themselves at the end of the show. Again the shyness of the microphone was on display which only makes us admire them more – if that’s possible.

The Season runs at the Sydney Opera House until 13 June before touring to Melbourne and Brisbane. Don’t miss this one!