Wednesday 4 June 2025

Review by Paul Neeson (Arts Wednesday)

Illume – Bangarra Dance Theatre (image Daniel Boud)

For their brand new production, Illume, Bangarra Dance Theatre have been allowed onto the stage of the Joan Sutherland Theatre for the first time, and this huge new space was barely big enough to contain their brilliance. Every aspect of this multidiscipline collaboration, (choreography, lighting, video, sets, costumes, soundtrack and sheer dance and athletic skill) thrilled to the highest degree eliciting strong emotions and clearly told narratives.

Murray Islands natives with Pearl Shell ornaments

The collaborative process began when Mirning woman and Bangarra artistic director, Frances Rings, contacted Goolarrgon Bard visual artist, Darrell Sibosado, whose huge LED reimagining of traditional mother-of-pearl shell carvings had featured at the 2024 Biennale of Sydney. This inspired starting point was the catalyst of some of the most creative work for contemporary dance I have ever witnessed. Sibosado’s creations featured throughout the work as stellar constellations, floor projections enhanced by movement and even as a fireplace as the tribe gathered and told stories around the slowly dying embers.

The music by Brendon Boney conveyed and propelled the narrative whilst energising the dancers. The electronic score ranged from primordial hums and throbs to hard techno beats. Samples of sounds from nature created atmosphere. I’m sure I heard the squeaks of nocturnal marsupials in the music bed as the dancers portrayed possum like creatures on stage. When the invasion began, western violins infiltrated the score, and church bells chimed as the cathedrals were being constructed.

And as you would expect, a dance work about “the ways light has captivated and sustained Indigenous cultural existence for millennia”, the lighting pulled no punches. Between the two – Lighting designer, Damien Cooper and Video designer, Craig Wilkinson – we were mesmerised by a galaxy of nighttime stars and constellations that are a nightly occurrence in outback country, but unfortunately a vision we can only dream of in light-polluted cities. From the front-of-stage screen that twinkled with stars, to the shooting stars that streaked across the sky, the long ropes that appeared as a single flexible light becoming part of the dance and the beautifully lit erect structures of the sacred Manawan trees signalling the arrival onto Goolarrgon country. The clever use of those same trees (Set designer, Charles Davis) to be felled and carted off to become the building blocks of the new colony. And a centrepiece of the overall design was the hovering conch shell that lit up and projected like an alien spacecraft. There is a powerful lighting and sound device to signify the disruption nature of the invasion that has to be experienced without prior warning for the full effect.

A quick mention also of the costumes (Elizabeth Gadsby). In the opening section, the dancers appeared in white with the left forearms in red ochre as though they were intrinsically connected to the red soil. We’ve all seen the brilliant costume from the hero image with the long black and white ropes hanging from her sleeves moving with the grace of seaweed in the tide and were repeated in the men’s costumes but suspended from their wastes. Everything about this production moved as one.

But of course all kudos to the excellent work of Artistic Director, Frances Rings for not only bringing all those elements together to fulfil her vision, but also to choreographing the movement of the 18 dancers. Her angular style of choreography took us from depictions of the continuance of the traditional song-lines, to the suffering of the indentured slaves of the colony, and in the end a final ray of hope as the Goolarrgon people rediscover country and its meaning to them. Of particular note was the intellectual and emotional conflict the dancers portrayed as they struggled with their loss of identity. The subtle hand movements of thoughts drifting away to be lost in the ether triggered some strong sorrowful emotions. But that was counterbalanced with the soft rain of leaves, petals or ash from the fire(?) as the healing effects of return to country infused and restored their very essence. Without exception, the troupe realised her vision exquisitely and with such joy and passion.

What a fabulous night out at the Sydney Opera House. And then to emerge into the night to be dazzled by the lights of the Vivid Festival (pale by comparison I must say). I think Bangarra Dance Theatre on the strength of Illume alone deserve a permanent home on the Joan Sutherland stage. (Maybe the Australian Ballet should check the fine print of their lease before they head off on their winter regional tour).