Really, what could be greater than the thrill of seeing two grand pianos being wheeled into the orchestra pit ready to be played? Not even the man behind me tapping his outstretched foot within my line of vision could put a dampener on how wildly brilliant I found it. (It is not the toe tapping per se. It is the out-of time toe tapping.)
In all three dance performances, Por Vos Muero, Scuola Di Ballo and Dyad 1929 (two of which a behind the scenes taste of can be seen in the previous post), that made up the Australian Ballet’s Concord, it was beautiful to see the coming together of choreography, music, costume and lighting. The costumes allowed the audience to see the dancers muscle tone and perfected bodies, which as a consequence made me feel five times their size as I sat in my seat watching them contort their bodies with all the elasticity of a rubber band. The set, with its geometric design, called to my mind that of an abstract painting.
Each time I head to the ballet I find I’m left wanting more. I came home inspired and spent the night finishing several recent large watercolour drawings. Here are two recently completed.
(Click to enlarge.)
(Click to enlarge.)
At winter’s end: opening night of Concord
Light my way: the abstract universe behind Wayne McGregor’s Dyad 1929
