Friday 15 August 2025

Rebecca Jensen and Sydney Dance Company.

The Neilson, Walsh Bay

Review by Paul Neeson (Arts Wednesday)

Having spent the early years of my career working as a foley artist and sound effects editor, when I heard about a contemporary dance work based on the art of foley, I was intrigued. Rebecca Jensen’s Slip is one of four works featured in Sydney Dance Company’s 4th INDance initiative recognising upcoming choreographers and giving them greater exposure to a wider audience.

Jack Foley worked for Universal pictures from 1914 at a time when sound was first being added to silent movies. For over 50 years he recreated sounds that were either not captured by the microphones, or later used to enhance the soundtrack for artistic reasons. The art of producing sound effects, such as footsteps, clothing rustles, and the noises of every day objects like glasses or plates was named in his honour. Often the foley artist has to substitute other objects to create the effect, such as using an umbrella for dragon wings, or celery for bones snapping.

Slip (first staged in 2023)begins with Jensen in period costume emerging from a bed with musician, composer and fellow dancer Aviva Endean creating foley effects in real time – drinking water, chewing crisps, rolling glasses, clothing rustles and every sound Jensen is producing – basically an elementary lesson in foley. Endean is surrounded by technology and microphones to manipulate not only the effects, but the ‘music’ soundtrack that accompanies the action. But she is manipulating much more: the dance itself is being controlled by her and the tech. The work dwells here only briefly before things start to morph into something entirely different. 

Symbolically Jensen removes much of her period costume as she strips back the reality of who is the performer, and who is manipulating things behind the scenes. Her thigh length boots are shed, only for Endean to slip into them (lucky they are the same shoe size), but on Endean they make her look more like a 21st century dominatrix. Endean does not have the typical dancer’s body, but she moves artistically and hits all her marks. Again what is real and what is substituted? Jensen replaces the period clothes with ‘denim jean’ leggings. Brilliant work from Visual Design, Romanie Harper.

The shotgun microphone becomes a weapon being wielded on Jensen (and even the audience) to make her comply. Jensen is conflicted and starts to show signs of rebellion. Eventually the microphone is rendered useless for its primary controlling task and instead  is used to sweep up the detritus scattered across the stage. There are empty glasses, electrical cords, newspapers, keys and coins (objects that are being rendered obsolete). I have to say watching Jensen (expertly) dance around these potentially hazardous objects heightened the drama. 

We see some rear-projected animation (Patrick Hamilton) that echoes Jensen’s choreography. She Slipped in and out out of sync with the video, but the title of the work suggests that was intentional and symbolic of further meaning:  what happens when our lives lose sync with the real world that is so controlled by technology. Do we fall off the edge? The overturning of the technology table was an obvious metaphor, but somehow Endean was still able to operate the various devices (think Terminator or The Matrix).

Eventually the work descends into a bravura performance by Jensen as she loses all control. The music becomes more frantic and threatening as each limb is forced to respond separately and individually; she is being torn apart. Just when we thought this had gone on for too long and was becoming unbearable, Jensen slipped backstage, but kept on reappearing. No too much. Make it stop.

The resolution finally came in the form of a simple candle and silence.

What an emotional journey it was. I will be thinking about Slip for days, trying to discover more and more meaning in the work. Jensen and Endean are a remarkable duo and an extraordinary find for the team at Sydney Dance Company’s INDance. I can’t wait for the alleged sequel to this work, (working title?) Slop.