Sydney Reviews

Choreographer Stephanie Lake is known for her monumental dance works – from short, pop-up events of 100–400 performers early in her career, to her internationally acclaimed production Collossus featuring 50 performers, seen by Sydney audiences at the 2020 Sydney Festival.

Lake’s hotly anticipated production, Manifesto features a mere 9 performers, which might seem paltry by comparison but, together with 9 outstanding drummers, they create a mesmerising and mighty effect. The driving, spirited rhythms create a majestic and elemental soundscape for the superbly talented dancers.

However, with the trajectory of the show ending in chaos and destruction, it left me wondering what the meaning of Lake’s Manifesto is. If a manifesto is an expression of one’s aims and beliefs, is Lake saying the transition from structure to chaos is a good thing, or bad? Is a descent into chaos inevitable, as suggested by the second law of thermodynamics, or is it a comment on the times in which we live?

The black-clad drummers sit in individual stations on a semi-circular rostrum that looks down on the performance area, just like a band of the Duke Ellington era. Set designer, Charles Davis nods to that era by draping the rostrum with minimalist but very glamorous pink velvet.

Lake is undoubtedly at her best when working with the entire ensemble, producing varied, exhilarating and truly exquisite sequences. The stunning opening piece features impeccable, staccato choreography that is peppered with humour and surprises. It works beautifully with the sharp, powerful rhythms of the percussionists and is a wonderful start to the performance.

Unlike some dance/music works, where the dancers perform to a previously composed score, Manifesto feels genuinely collaborative between the two forms. Composer, Robin Fox, is Lake’s long time musical partner. In this work, there is a dialogue between the choreography and the musical composition. It is clear they evolved together. In the first piece particularly, the drumming reflects the movement instead of the choreography being led by the music. But then it flips and the dancers are following the percussionists. It is thrilling to experience this creative interplay.

The overall shape of the piece moves from the sharp precision of the opening sequence to sensual, kinetic ensemble work. These two sections are Lake’s finest. The show progresses to more individual pieces in which each dancer’s specific style is highlighted. The focus of the second half is much more individualistic. Influences of Classical Ballet, Hip Hop and other styles are incorporated into the dance language.

This is reflected in Paula Levis’s costumes. Initially uniform, the costumes become individual to suit each dancer as the tone of the work changes, while maintaining an all-white pallet.

By the end the momentum has built. The dance becomes more frenzied, primal and chaotic. And while the entire ensemble is mostly on stage, they are atomised, dancing within their own realm. Despite this mounting intensity, this section lacked the power of the first two thirds of the work. The central energy dissipated and the chaos came at the expense of potency.

Whilst, for me, the last section lacks the cohesion and brilliance of the rest of the piece, there is no taking away from the fact that Manifesto is a powerful and stunning work by one of Australia’s most talented choreographers. The packed opening night audience loved the show, giving it a long, standing ovation that will undoubtedly be repeated after each of its four performances. Well worth checking out.