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ABOUT THE WORK
Choreography Colin Poole
Costume Design Martina Trottmann
Lighting Design Karsten Tinapp
Music Angus Finlayson
Laban trained choreographer Colin Poole, known for his residencies at the Royal Opera House and The Place, returns to Laban to work with Transitions Dance Company. The commissioned work ...No..No features a collaboration between Poole and composer Angus Finlayson, a student at Laban’s sister college, Trinity College of Music. The resulting sound score is intense and dynamic, evoking for Poole mixed feelings of safety and edginess. Similarly the choreography explores edges, the margins between sensuality and sexuality. Energetic movement combined with costume changes creates ambivalent exchanges between the performers, blurring tenderness with aggression, devotion with manipulation, creating an ever shifting, unpredictable world.
Watch the company in rehearsal
Choreography Cameron McMillan
Costume Suzie Holmes
Lighting Fay Patterson
New Zealand born classically trained dancer and choreographer Cameron McMillan has created work for companies including the Rambert Dance Company and Royal New Zealand Ballet. He brings his passion for physical and resonant dance to his new piece – Blind Action – for Transitions. The piece is set to Cube – an ensemble percussion score by Murray Hickman, originally developed for the Melbourne International Festival of the Arts and performed on adjoining three-metre cubes of scaffolding on instruments including tom-toms, hubcaps, and metal plates. Cameron has taken the idea of this restricted structure, applied it to the physical development of the piece and explored related themes – stereotypes, conformity and life on display. The result is a thrillingly physical piece of pure dance, articulate fast paced choreography matched with the dynamic rhythms of the intoxicating score.
Blind Action costumes
Choreography Angela Woodhouse
Costume Design Susane Kulkami
Lighting Design Ross Cameron
Angela Woodhouse joins Transitions fresh from developing Sighted (produced by The Place Theatre) and Sighted 2, commissioned by the Royal Opera House. In endings for Transitions, she continues to draw her audience’s attention to an acute awareness of place and the present, a feeling of uncertainty, participation, and wonder. Angela is interested in articulating highly charged atmospheres – quiet and powerful, minimal yet intense. Known for her site specific work, for endings she returns to the more traditional theatre environment, exploring the cusp between private and public space. This work follows a series of pieces, first initiated through The Place Prize commission in 2004, in which Angela explores the audience as a group of individuals who see and are to be seen, whose experience of the work also forms the work. Performed to a backdrop of the theatre’s ambient sound, the audience is intimately aware of the sound of breath and touch, movement and stillness. Through a subtly developing dance language the Company poses questions about the fragile nature of performance - examining the momentary connections that quickly evaporate, both in dance, and in life.
Read dancer diary entries
Find out more about the Choreographers for 2009-10
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