Western Sydney Dance Action (WSDA) is, without a doubt, one of the most progressive, prolific and energetic arts organisations working, across greater Sydney; a real asset to this mighty metropolis. It is that organisation, among others, that has supported this short season of StarStruck, a world premiere collaboration, ahead of a European tour, between two dance-theatre companies: Sum Of Its Parts & Company Jozsef Trefeli.Described as 'A Madcap Journey Stalking The Dark Side Of Our Celebrity-Obsessed Society', it's hard to locate this work in the spectrum of performance art disciplines. Genre-defying, as in this case, can plate some of the most challenging fare, of course. This is an erratic, poorly-constructed, frayed and flawed production, but by no means a failed one: nothing bringing a writer on-board couldn't cure, methinks (besides Rudi Van Der Merwe, who's responsible for the text).
The product of this corporate merger comprises Victoria Chiu, Jozsef Trefeli, Rudi Van Der Merwe & Roland Cox, each a very individual talent. The show begins with piano, from Cox, who shines on the instrument. Indeed, his talents are multifarious. He trained at the Australian Ballet School and was chosen for the company in '95. With the AB, he's danced corps de ballet, solo and principal roles. He went on to become artistic director of theatre company, Colours Of Pulse. After, he performed with Leigh Warren, Sydney Dance Company, Australian Dance Theatre, Protein (in London), The Royal Opera Covent Garden, et al. To top that, he's created dance with people with disabilities both here and abroad. And as if that resume wasn't more than enough, he's composed, performed and recorded as singer, percussionist and pianist.
The rest of the company have similarly jaw-dropping cvs, but even they aren't enough to make this a cohesive production.
The first scene, as it were, is of the blonde-wigged, '80s-iconic rockgod, Ocean Legbar, preening, posing & touting himself with relative immodesty. This to a backdrop of contrived slides of his eminence, in various contexts. It's amusing, in the way of innocuous television comedy, but hardly infused with anything new by way of satirising celebrity. (Mind you, any pisstake on the cult of such is a good pisstake.)
The work then moves into an overly long dance scene, in which the rest of the company weave around each other in a narratively inscrutable way and one which doesn't redeem itself choreographically, or aesthetically: it seems pointless, unattractive and, frankly, downright boring.
Things hot up with Chiu almost pornographic interactions with a television, on which buff, macho, would-be or already are somebodies are screened. This was perhaps the first hard evidence of the dance and theatrical skills of the troupe. In this and other vignettes, she shows herself adept at the role of the coquettish groupie, in all its affectations. Choreographically, it's provocative, imbued with searing sexuality.
Another scene (again, for want of a better descriptor), in which three dancers metaphorically vie for a better look at and closer proximity to the object of their admiration, affection, desire, fascination, or obsession, shows just how good this company (or these companies) can get: it is brilliantly conceived and executed, with each dancer thrusting the others aside. Even in its brutal physicality, it's fluid & graceful.
The centrepiece of the production is, very arguably, 'the audition', in which an actor, desperate for a part, tries everything in his diverse performing vocabulary to impress the arbiters, including, finally, handcuffing himself to their table. The mock ballet that ensues, with three dancers on stage, one still handcuffed to said table, is nothing short of a comical masterpiece, in the angular, unexpected, fresh manner of Borge, or even Chaplin. Wonderful!
Throughout, it should be said, the choice and performance of music is one of the strongest attributes of the work. Cox is principally responsible, with a little bit (or a lot) of help from Tom & Matt Rodd. Laurent Valdes' lighting and film is similarly creditable; the entirely filmed stalking sequence is very well-executed and quite comical. The soundtrack is provided by Cox's menacing pizzicato piano, which is both novel and expert, making his mastery of the instrument obvious.
The final scene is both beautiful and tragic: red carpets are rolled-out symmetrically; televisions positioned almost as if on an altar; worshipful diehards watch, as their idol dies an operatic death. All this, again, to Cox's emotive pianoforte. The comic element is always present, however, which is precisely what makes it bite.
There is much evidence that StarStruck, despite its gimmicky title, can and, hopefully, will evolve and mature into a more even work. If it does, I'm sure I'll have not trouble praising every part of it to the hilt, rather than the more selective and qualified adulation I confess here and now.
Western Sydney Dance Action
STARSTRUCK
Venue: Lennox Theatre | Riverside Theatres Parramatta
Dates/Time: 8pm, Friday 9 and Saturday 10 July, 2010
Tickets: $28 | $22 conc
Bookings: 8839 3399 | www.riversideparramatta.com.au
