Summary  of  Media  Reviews    Natalie  Weir’s  7  Deadly  Sins   21-­‐29  August  2015  |  Playhouse,  QPAC      COMPANY  AND  PRODUCTION    “Staging  its  world  premier  at  QPAC,  this  contemporary  dance  piece  seems  to  combine  dance  with  yoga  and  even  acrobatics,  stretching  the  body  into  positions  of  balance  and  strength  that  occasionally  seem  impossible.”  Scenestr      “The  audience  were  cheering  almost  before  the  music  had  stopped,  champing  at  the  bit  to  give  7  Deadly  Sins  the  kind  of  rockstar  reception  not  often  heard  in  the  Playhouse”.  Creative  Drinks      “..on  opening  night  the  performance  was  met  with  an  enthusiastic  standing  ovation.”  Arts  Hub    “It  was  sensual  and  erotic,  violent  and  gentle,  soft  and  hard  as  each  sin  became  a  live  creation  and  finally  joined  into  a  joyous  dance  of  freedom.”  Absolute  Theatre      “The  creative  process  for  7  Deadly  Sins  was  another  collaborative  effort  between  choreographer  and  dancers,  designer  and  composer,  that  has  produced  a  visually  stunning  looking  work.”  Dance  Australia      “Weir,  her  collaborators  and  her  dancers  have  delivered  a  high  energy,  high  concept  new  work  that  should  enthrall  both  lovers  of  dance  and  newcomers  alike.”  Creative  Drinks      “Gold  and  other  metallics  are  a  strong  theme  throughout  the  production,  for  obvious  reasons,  and  the  way  the  gold  curtain  is  lit  helps  the  audience  to  separate  each  story.”  Scenestr      “It’s  immensely  enjoyable,  though,  to  watch  the  sins  interact  and  squabble  among  themselves,  like  rare  and  strange  animals  at  the  local  zoo”.  Creative  Drinks      “…the  overarching  construction  of  this  work  is  of  a  series  of  defining  solos  for  the  dancers  –  each  shedding  their  “skin”  of  gold,  revealing  themselves  as  the  embodiment  of  one  of  the  seven  sins.”  Dance  Australia        “This  performance  was  breathtaking,  exciting,  mesmerizing  and  inspirational  (the  yoga  class  is  calling!),  and  well  worth  the  standing  ovation  the  performers  and  creatives  received  at  the  end.”    Scenestr      “The  company  has  never  looked  so  strong,  well  disciplined  and  cohesive.”  Dance  Australia      “Expressions  Dance  Company’s  performance  of  Natalie  Weir’s  ‘7  Deadly  Sins’  is  amazing.  Amazing.  Go  see  it.  Immediately.“  Scenestr        “The  piece  is  a  visual  feast,  from  Haycock’s  golden  Klimt-­‐esque  designs,  to  David  Walters’  captivating  lighting,  to  the  incredible  dynamic  space  occupied  by  the  dancers,  who  spend  a  good  deal  of  time  on  top  of,  under  and  in  boxes.”  Creative  Drinks      “Expressions  Dance  Company’s  latest  offering  is  a  masterpiece  in  communicating  emotion  through  dance.”  The  Queensland  Times    

 

 

“Their  incredible  stamina  is  maintained  for  the  whole  60  minutes  of  this  performance-­‐  an  hour  of  power  that  is  heart  accelerating  for  the  audience.”  The  Queensland  Times    “  The  sins  are  all  alluring  and  toxic  to  varying  degrees,  and  choreographer  Natalie  Weir  has  tapped  into  the  overlaps  between  sloth,  gluttony,  greed,  lust,  envy,  pride  and  wrath,  all  filtered  through  the  character  of  a  universal  man.”  The  Courier  Mail    “Propelled  by  Darrin  Verhagen’s  primordially  pulsating  electronic  soundscape,  7  Deadly  Sins  is  a  seething  and  disquieting  journey  in  the  dark  desire.”  The  Courier  Mail      “In  addition  to  Expressions  Dance  Company’s  signature  athleticism,  the  aesthetic  of  imaginative  shapes  and  beautiful  lines  alongside  the  thoughtful  detail  in  the  portraits  and  characterization  are  what  I  enjoyed  the  most.”  The  Courier  Mail    “The  costumes  and  sets  are  minimalistic  but  striking,  allowing  the  dancers’  lines,  shapes  and  formations  to  take  full  centre  stage.”  Arts  Hub    “  The  performances  from  each  of  the  ensemble  members  are  faultless,  as  each  scene  and  image  unfolds  in  their  physicality  we  sometimes  forget  the  artifice  that  they  are  dancers.”  Arts  Hub    “  EDC  deliver  another  powerful  and  provocative  original  production  that  shows  that  Australia  is  definitely  producing  exceptional  talent  across  a  number  of  arts  platforms.”  Dancetrain    “  I  could  go  on  watching  these  dancers  and  this  choreography  forever,  mesmerized  by  the  feats  the  dancers  perform,  and  the  beauty  ad  the  power  of  the  movement  choreographed  by  Artistic  Director  Natalie  Weir,  in  collaboration  with  the  dancers.”  XS  Entertainment    “  One  word  can  describe  Natalie  Weir’s  7  Deadly  Sins  premiere  last  Friday  night,  and  that  word  is  sparkling  costumes,  dazzling  design  and  enthralling  choreography.”  Brisbane  Weekender    “  7  Deadly  Sins  is  a  production  that  allows  for  the  audience  to  be  intrigued,  and  to  also  look  into  themselves.”  Brisbane  Weekender    “…  the  audience  of  7  Deadly  Sins  can  expect  an  unrivalled  performance  exuding  talent,  skill  and  above  all  sin.”  Brisbane  Weekender        NATALIE  WEIR    “Natalie  Weir’s  signature  work  for  this  year  continues  Expressions  Dance  Company’s  commitment  to  contemporary  storytelling,  using  theatrical  narratives  to  explore  elements  of  the  human  spirit.”  Dance  Australia      “…Weir  must  be  applauded  for  the  stylised  physical  motifs  that  define  and  enrich  each  ‘character’”  Creative  Drinks      “Natalie  Weir’s  highly  conceptual  new  piece  is  her  fifth  signature  work  for  EDC,  and  her  tenth  collaboration  with  designer  Bill  Haycock…”  Creative  Drinks      “Weir  does  not  order  sinfulness  according  to  convention…”  Dance  Australia      “Weir’s  style,  which  is  steeped  in  tradition  of  Martha  Graham,  is  a  choreographer  who  excels  in  the  physical  and  angular  and  7  Deadly  Sins  is  no  exception.”  Stage  Whispers    

 

 

“Artistic  director  Natalie  Weir  unpacks  each  dancer  from  a  box,  suggesting  individual  desires  form  part  of  a  whole.”  The  Australian    “Weir  is  an  advocate  of  solo  work,  and  has  championed  the  form  through  her  tenure  at  Expressions.”  The  Australian    “  Weir  had  also  directed  the  choreography  of  the  performance,  of  which  should  be  heartily  applauded.”  Brisbane  Weekender    “  Natalie  Weir  can  always  be  relied  upon  to  present  works  with  highly  physical  choreography  and  with  design  that  is  usually  minimal  but  always  effective.  7  Deadly  Sins  is  no  exception.”  Michelle  Potter    DANCERS    “To  name  but  a  few,  Envy  (Rebecca  Hall)’s  spasmodic,  seemingly  pathological  twitches  and  the  impossible  fluidity  of  Sloth  (Cloudia  Elder)’s  languid  rolls  were  particularly  effective.”  Creative  Drinks      “Seven  Deadly  Sins  is  an  hour  of  extreme  and  intense  dance  created  by  artists  who  put  their  bodies  on  the  line  in  lithe  and  sinuous  movements  that  need  ability  and  amazing  strength  to  perform”  Absolute  Theatre      “Ziesing,  Brandwood  and  Chapman  make  the  most  of  the  prop,  a  series  of  golden  boxes  from  which  each  sin  emerges,  through  clever  use  of  strength  and  weight  bearing.”  The  Queensland  Times    “Greenfield  anchors  7  Deadly  Sins-­‐  allowing  EDC  dancers  to  bear  their  souls  through  charisma,  vulnerability  and  versatility.”  The  Queensland  Times    “Guest  artist  Thomas  Gundry  Greenfield  as  the  ‘Man’  was  a  compelling  anchor  and  a  powerful  presence  throughout  especially  in  his  final  solo.”  Stage  Whispers    “In  an  arresting  image,  the  two  dancers  link  neck-­‐to-­‐neck,  their  very  different  bodies  arching  in  remarkable  symmetry.  Certain  sins  make  natural  partners.”  The  Australian    “Much  of  the  movement  is  grounded,  with  the  performers’  weight  resting  on  the  palms  and  elbows  and  knew.  These  passages  are  navigated  with  skill  and  lightness  and  reveal  the  influence  of  Amy  Hollingsworth,  who  recently  started  as  the  company’s  rehearsal  director.”  The  Australian    “  Memorable  performances  come  from  Daryl  Brandwood  dancing  as  Greed,  equally  unencumbered  by  gravity  and  moderation,  and  Elise  May,  a  regal  goddess  of  Lust.”  Arts  Hub    “The  pas  de  deux  between  Man  and  Sloth  shows  Greenfield’s  incredible  strength,  assisting  elder  move  through  the  series  of  fluid  lifts  yet  both  exuding  the  control  and  effortless  required  to  depict  Sloth  rightly  as  “The  avoidance  of  physical  work.”  Dancetrain      “Every  dancer  has  a  wonderful  initial  solo,  punctuated  by  various  duos  and  other  combinations  with  the  Man,  with  each  other,  and  as  a  whole  group.”  XS  Entertainment    “  The  choreographic  highlight  for  me  was  a  duet  between  Brandwood  and  Chapman  in  which  their  characters  seemed  to  be  competing  for  dominance.  The  duet  was  a  powerful  display  and  something  of  a  tour  de  force.  It  was  nevertheless,  beautifully  manipulated  and  managed  by  the  dancers.”  Michelle  Potter    

 

 

“Elise  May  was  mesmerising  as  Lust  –  wheeled  onto  centre  stage,  standing  sarcophagus-­‐like  in  her  box,  and  swathed  in  a  gold,  she  was  hypnotic,  sinuous  and  predatory.”  Dance  Australia      “Daryl  Brandwood  was  Greed  –  decked  out  in  gold  ornamentation  and  a  spreading  gold  lamé  coat,  he  emerged  from  his  coffin  like  box  with  percussive,  angular,  but  still  pliant  movement  that  showed  off  his  remarkable  facility.”  Dance  Australia      “  It  is  a  true  privilege  to  see  his  latest  brilliance  before  the  44-­‐year-­‐old  “hangs  up  his  socks”,  a  phrase  Weir  quipped  after  the  opening  night  performance.”  The  Queensland  Times    “Brandwood  also  impressed  with  his  flamboyant  Greed,  and  provided  one  of  the  ballet’s  most  spectacular  pairings  with  Benjamin  Chapman  as  Pride.”  Stage  Whispers    “The  strongest  pasts  of  7  Deadly  Sins  feature  virtuosic  performances,  including  that  of  senior  dancer  Daryl  Brandwood,  who  displays  startling  speed,  stretch  and  precision  as  Greed,  his  legs  and  arms  slicing  through  space.”  The  Australian    “Special  mention  must  be  made  of  Daryl  Brandwood,  at  44  years  of  age,  in  his  final  signature  work  for  EDC  is  explosive  as  Greed,  he  remains  almost  entirely  connected  to  his  box  and  uses  the  edges  like  parallel  bars  to  propel  himself  through  the  choreography.”  Dancetrain        “Brandwood  makes  Greed  look  savagely  elegant,  extending  and  controlling  his  limbs  as  he  maneuvers  over,  around  and  out  of  a  giant  rectangular  box.  His  polish  and  control  always  stand  out.  We  will  miss  this  wonderful  dancer  when  he  leaves  EDC  at  the  end  of  the  year.”  XS  Entertainment    “I  admired  Daryl  Brandwood  as  Greed,  not  only  for  his  articulate  dancing,  but  also  because  his  vast  performing  experience  made  his  interpretation  a  multi-­‐faceted  one.”  Michelle  Potter      “Jack  Ziesing,  in  a  black  and  gold  Michelin-­‐Man  styled  jumpsuit,  embodied  Gluttony,  as  with  pig’s  trotter-­‐like  motifs,  he  fed  from  his  trough.”  Dance  Australia      “Jack  Ziesing  portraying  gluttony  and  Elise  May  embodying  lust  proves  a  scintillating  pairing,”  The  Queensland  Times    “Appearing  as  a  raccoon  eyed  Samurai  Michelin  Man,  Jack  Ziesing’s  body  language  and  animalistic  mannerisms  ooze  Gluttony  even  after  paring  away  the  padding.”  The  Courier  Mail    “…honour  goes  to  Wrath  (Michelle  Barnett),  who  emerged,  like  Lucifer  in  an  eruption  of  red-­‐lit  smoke,  with  strongly  executed,  articulate  and  extended  movement.”  Dance  Australia      “Wrath  is  the  catalyst  for  the  work’s  climax”.  Dance  Australia      “Michelle  Barnett’s  Wrath  brings  the  exciting  volatility  of  slicing  arcs  and  dramatic  sweeping  movement.”  The  Courier  Mail    “As  wrath  Barnett  projects  strength  and  energy  in  her  explosive  movement,  her  legs  and  strongly  arched  feet  like  weapons.”  XS  Entertainment      “Sloth  (newcomer  Cloudia  Elder)  unfolded  herself  from  a  small  gold  box  with  slow,  languorous  movement…”  Dance  Australia      “Its  clear  Elder  has  cemented  her  place  in  the  creative  dancing  field  as  she  fits  between  playful  abandon  and  sultry  seductress  in  this  role.”  The  Queensland  Times    

 

 

 “Rebecca  Hall,  as  Envy,  slid  snake-­‐like  from  her  box,  long  gold  skirt  swishing  and  a  nervous  tick-­‐like  movement  of  her  shoulders  a  recurring  motive…”  Dance  Australia        “…unsurprisingly  Ben  Chapman,  as  Pride,  strode  from  his  mirror-­‐lined  box,  commanding  the  space  with  gold  cloak  sweeping  behind.”  Dance  Australia      “The  mood  in  the  stalls  changed  palpably  when  he  burst  onto  stage  from  inside  a  golden  cabinet,  and  the  hum  of  audience  approval  could  be  heard  even  over  the  crescendo  of  strings  that  marked  his  entrance.”  Creative  Drinks      “  Benjamin  Chapman  shone  as  he  bought  pride  to  the  stage-­‐  running  a  tightrope  between  confidence  and  a  perverted  sense  of  worth  through  fluid  and  riveting  contemporary  dance.”  The  Queensland  Times      DESIGNERS      “The  vices  in  Giotto  di  Bondone’s  paintings,  which  were  a  reference  point  for  Bill  Haycock’s  striking  gold  lamé  embellished  set  and  costume  designs  are,  however,  studies  in  self-­‐destruction,  and  Weir’s  focus  is  similarly  on  the  desolation  of  sin.”  Dance  Australia      “Oh,  the  costumes!  They  are  utterly  beautiful,  and  perfectly  suited  to  each  sin.”  Scenestr      “David  Walters  works  his  magic  with  a  striking  light  design  that  cuts  in  shafts  across  the  space,  and  sometimes  floods  it  from  red  to  the  monochromatic.”  Dance  Australia      “Like  all  Expressions’  work,  this  was  a  team  effort;  choreographer  Natalie  Weir,  designer  Bill  Haycock,  lighting  designer  David  Walters,  Darrin  Verhagen’s  hypnotic  electronic  sound  track,  and  the  dancers,  all  blended  their  skills  to  make  this  such  a  memorable  production.”  Absolute  Theatre      “Adorned  in  heavy  gold  draping  costumes  and  headdresses  reminiscent  of  ancient  cultures  and  dancers  quickly  shed  their  outer  costume  to  be  left  in  simple  black  and  let  their  body  express  their  character.”  Dancetrain      “7  Deadly  Sins  makes  a  big  visual  and  aural  impact.  The  gold  costumes  are  the  dominant  visible  feature  of  Bill  Haycock’s  design,  which  he  says  in  his  program  notes  are  inspired  by  the  ‘currently  popular’  “sword  and  sorcery”  films.’  XS  Entertainment    MUSIC      “Darrin  Verhagen’s  pounding,  electronic  soundscape  both  drives  and  supports  the  physical  exploration  of  each  individual  sin,  with  rich  textures  and  grinding  percussive  elements.”  Dance  Australia      “To  round  off  the  experience,  the  music  is  haunting  and  slightly  crazy…  in  a  good  way.”  Scenestr      “It  is  electronic  rather  than  classical,  and  could  sound  like  the  soft  murmuring  of  human  voices  (hence  the  slightly  crazy,  but  as  you  could  imagine  in  a  particular  kind  of  hell)  or  dropping  water,  depending  on  which  sin  was  dancing.”  Scenestr      “It’s  the  unique  digital  sounds  from  Darrin  Verhagen  that  bring  the  whole  performance  together-­‐  from  the  slow  breathing  for  sloth  to  classical  notes  for  pride  and  drums  for  wrath.”  The  Queensland  Times    

 

 

“Darrin  Verhagen  whose  soundscape  verges  on  the  brilliant.  Urban  sounds  and  industrial  percussion  interlace  with  solo  violin  and  piano,  with  at  times  a  tribal  feel  and  a  hint  of  didgeridoo,  and  culminate  in  a  plaintive  piano  solo  of  great  beauty.  It  aurally  overwhelmed  with  its  range  and  dynamic.”  Stage  Whispers    “Darrin  Verhagen’s  music  evokes  each  sin.”  XS  Entertainment    “Such  a  fusion  between  light  and  sound  is  clearly  appreciated  in  the  show’s  performance.”  Brisbane  Weekender                                                                                      

 

 

THE  COURIER  MAIL  Olivia  Stewart  -­‐  24  August  2015    

                             

 

 

THE  AUSTRALIAN  Cameron  Pegg  -­‐  24  August  2015  

               

 

 

 

                                                   

 

 

ARTSHUB  Charlene  Li  -­‐  1  September  2015        

   

   

 

 

                                                         

 

 

DANCE  AUSTRALIA  Denise  Richardson  -­‐  25  August  2015    

         

 

 

             

 

 

DANCE  TRAIN  (via  Facebook)  Alison  Russell  -­‐  22  August  2015    7 Deadly Sins is the fifth signature work for EDC by Natalie Weir. A feast for all the senses, this work is the product of collaboration between Natalie Weir (choreographer) Bill Haycock (Designer) Darrin Verhagen (Music) David Walters (Lighting) and the EDC dancers. The curtains open on Man, guest artist Thomas Gundry Greenfield, watching TV. This sloth like activity is the impetus for Sloth sin (Cloudia Elder) to appear. The pas de deux between Man & Slot shows Greenfieldʼs incredible strength, assisting Elder move through the series of fluid lifts yet both exuding the control and effortlessness required to depict Sloth rightly as “the avoidance of physical work”. Each of the Sins then arrive in gold boxes of various sizes and are given their time to shine, and shine they did in Bill Haycockʼs sumptuous costumes. Adorned in heavy gold draping costumes and headdresses reminiscent of ancient cultures the dancers quickly shed their outer costume to be left in simple black and let their bodies express their character. This production lends itself perfectly to show off the incredible talents of EDC dancers; Daryl Brandwood (Greed), Jack Ziesing (Gluttony), Elise May (Lust), Rebecca Hall (Envy), Benjamin Chapman (Pride) & Michelle Barnett (Wrath). Special mention must be made of Daryl Brandwood, at 44 years of age, in his final signature work for EDC is explosive as Greed, he remains almost entirely connected to his box and uses the edges like parallel bars to propel himself through the choreography whilst the impeccable Elise May uses her beautifully sinewy limbs to make the entire audience lust after her. With all sins now vying for their place the energy becomes frantic and feverish. Man is ultimately captivated by Lust and pursues this sin but with the overwhelming interruption of all the sins this leads to lose of control and eventually Man lashes out causing all sins to retreat. EDC deliver another powerful & provocative original production that shows that Australia is definitely producing exceptional talent across a number of arts platforms. pics: Natalie Weir's 7 Deadly Sins L-R Jack Ziesing and Thomas Gundry Greenfield. 2nd pic Daryl Brandwood (top) and Benjamin Chapman Photos by Chris Herzfeld                          

 

 

MICHELLE  POTTER.ORG    Michelle  Potter  -­‐  25  August  2015    

 

   

 

 

 

SCENESTR  Luisa  Ryan  -­‐  25  August  2015    

   

 

 

   

                                                           

                             

 

 

STAGE  WHISPERS  Peter  Pinne  -­‐  30  August  2015      

                                 

 

 

 CREATIVE  DRINKS  Madeleine  Dale  -­‐  25  August  2015            

                   

 

 

                                           

     

 

 

THE  QUEENSLAND  TIMES  Rae  Wilson  -­‐  22  August  2015        

                       

 

 

                                                                           

     

             

 

 

   

                           

   

                                                         

 

 

XS  ENTERTAINMENT  Ruth  Ridgeway  -­‐  24  August  2015    

 

 

 

   

                                                                                             

 

 

           

 

ABSOLUTE  THEATRE  Eric  Scott  -­‐  22  August,  2015