Performing Lines WA

Sally Richardson is one of those all-round amazing ladies. She writes and directs her own projects, produces large-scale arts events and recieves countless awards for her efforts, including a 2009 Helpmann for Best Presentation for Children for The Promise. This week I talked to Sally about her new work standing bird, a dance/theatre/film performance happening at PICA as part of The Blue Room Theatre Summer Nights and Fringe World. Performed by Jacqui Claus, standing bird explores a woman’s encounter with the Australian landscape – an experience of submersion, dislocation, isolation and transformation.

Pictured: Jacqui Claus, rehearsal for standing bird (2012) Photo: Ashley de Prazer

Words: Sally Richardson (SR) and Sarah Rowbottam (PLWA)

PLWA. First up, briefly tell me about yourself.
SR. I am a mother, an artist, and a creative arts worker and facilitator. I was born in Melbourne but grew up in WA. My creative practice is based in WA but I have worked regularly in the performing arts across Australia since 1993. I am passionate about exploring who we are and our relationship to this place and space. What is the story we wish to tell, and the various ways we can tell it.

PLWA. What is the story behind creating standing bird?
SR. The story or narrative for the work is simple. It follows a woman’s journey through the Australian landscape from the sea into the interior, the heart – It is a journey of the self. These environments are territories of the emotions and represent aspects of her life, fragments of experiences, punctuated by ‘abruptions’ or crisis that instigate metamorphosis and transformation. Visibly she moves from a contemporary urban superficial image of a standing bird, into the empowered animal that is the timeless spirit bird, her self.

The work is in four distinct and discreet sections; Shipwrecked, Beach, Swamp & Bird – they are the movements of a score, chapters in a book or single portraits, if you like. The spaces in between are the practical and perfunctory set up preparations made visible to the audience. We move lights, equipment and the performer changes costume, giving the audience the opportunity to engage both with the ‘character’  and the authentic construction of the performance.

This project has been in evolution for several years, and we have undertaken a number of developments exploring key themes, narratives, and forms to find the synthesis that represents the spartan and essentialist version that has become the current standing bird.

These developments have explored multiple physical languages working with different forms of choreographic practice and methodology, theatre and performance making (inc puppetry), live music, sound and vision design. (early workshop footage can be viewed on you tube)

Pictured: Shona Erskine, Eliza (2009) Photo: Ashley de Prazer

Over several years we produced and presented several short dance films (Eliza and Standing Bird) and a short dance work (Standing Bird choreographed and performed by Paea Leach) featured as part of Strut’s shortcuts season in 2010. (also on You tube)

The ‘we’ has involved a number of collaborators over this period and these include: Shona Erskine, Paea Leach, Jacob Lehrer, Philip Mitchell, Chrissie Parrott, with Kingsley Reeve, Danielle Micich, Ashley de Prazer continuing throughout the project alongside newer standing bird co-creators Humphrey Bower, Fiona Bruce, Kyle Morrison & Mike Nanning.

Fiona de Garis has been our producer since the projects inception. She is the definition of rock.

PLWA. You have been rehearsing standing bird intensively since Christmas. Take us through one of your favourite rehearsal days thus far.
SR. That’s tricky – each day brings new discoveries, un-coveries, sudden leaps in understanding and realisation. So no single day is more ‘stand out ‘than any other.

PLWA. What do you hope an audience member will take away from standing bird?
SR. To have undertaken a rich emotional and physical journey with the performer that is beautiful, powerful, moving and meaningful. To have experienced a visceral and authentic connection with the performer and her story.

Pictured: Jacqui Claus, rehearsal for standing bird (2012) Photo: Sally Richardson
PLWA. For standing bird you are working with one of my favourite Perth dancers Jacqui Claus. Why did you choose to collaborate with Jacqui?
SR. I have watched and enjoyed Jacqui’s work over a number of years here in WA, and particularly enjoyed her powerful dynamism and compelling physicality as a performer. I wanted to see her have the opportunity to extend her emotional and physical range. To find new layers,  a subtlely within the largesse and expansiveness she already offers an audience.

Not just any performer has the physical range, nor can sustain the emotional depth that is required in a full length solo work. Jacqui is ready for a work that demands a great deal of her, more than she has done before.

PLWA. Performing a full length solo dance work seems like a rare opportunity in Perth. What is special about making solo work?
SR. It offers a unique performer and audience relationship. It is intimate, honest and revealing as solo work takes us to core of the human experience of self. It its creation it is intense, demanding, and detailed work.

The relationship between you and the artist is at the core of the work, so there needs to be honest open communication, and genuine collaboration. There is a dance between us as we make the work together. As I said previously it requires an intelligent, committed artist who has a dynamic performance range and stamina.

Pictured: Jacqui Claus, rehearsal for standing bird (2012) Photo: Sally Richardson
PLWA. standing bird is co-created by Danielle Micich, Ashley de Prazer, Jacqui Claus and yourself. How do you negotiate making work when there are so many equal voices? How do you achieve a clear articulation of your combined vision?
SR. In coming in to the process for this presentation of standing bird.. I spent focused time by myself, and then in one on one conversation with a dramaturg I trust.

I feel I came into the rehearsal stage of the project with clear objectives and story boards about what I wanted to explore and potentially achieve. How this is delivered shifts and alters inevitably through the co-creative process – but ultimately I am not asking of my co-creators to tell me what the work is about. So we are working together to explore, develop and realise a core vision. That I have generated.

We also have previous history of collaboration, with some of the team over many years, so there is an inherent trust and already a proven ability to work together.

PLWA. How do you feel about self-funded work?
SR. That it is inevitable at times. Positive – I do get to do it the way I want to. Work at my own pace, in my own way. I don’t have to aquit the production! It puts all kinds of obstacles (and limitations) in place, which can be good (and not so good) You pull a lot of favours – (special thanks to Yirra Yaakin). It has felt really rewarding that this talented and experienced group of artists believe in my work to give of their time (and money) to create this together

PLWA. What advice would you give to young aspiring artist looking to develop their craft?
SR. DO it – don’t wait to be asked (or funded). Practice- really means that. GO and see work, all kinds. Ask people to help you (support, advice, whatever) – they can only say no and most times they don’t

PLWA. What’s the most exciting thing that has happened to you in your career?
Lots on the list – touring your work to major festivals, and internationally, but really? The present moment – Right NOW feels really good – to be in a studio with great people making stuff – nothing better

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standing bird
7 – 10 & 12 Feb 2012
PICA Performance Space
All shows 9.30pm
Tickets: $30* www.fringeworld.com.au

*Save $5 and book early with The Blue Room Theatre (08) 9227 7005 or book online

Presented by The Blue Room Theatre Summer Nights and Sally Richardson in association with PICA
Created by Sally Richardson, Danielle Micich, Ashley de Prazer and Jacqui Claus
with contributions from Paea Leach and Shona Erskine
Sound: Kingsley Reeve with Kyle Morrison
Dramaturgy: Humphrey Bower
Lighting: Mike Nanning
Costume: Fiona Bruce
Producer: Performing Lines WA

It’s week two in the Shiver rehearsal room at King Street Arts Centre and there have been some exciting developments as the cast welcome Sound Designer Kingsley Reeve and Dramaturg Humphrey Bower to the team. Performer Jacqui Claus gives us an overview of what’s been happening in Studio 3 and how things have changed since the cast last worked together in July earlier this year.

Words: Jacqui Claus, Performer for Shiver Photos: Sarah Rowbottam

Week Two in the Shiver studio has been a productive one with sections coming together and transitions being set. On Tuesday our Dramaturg, Humphrey Bower, began his work with us and he has been a welcome edition to the creative team, we have all taken to applauding when he enters the room. Humphrey has a very clear mind and because he doesn’t have the depth of information of the stories and characters that the rest of us have, he has been a great help in making clear what does and doesn’t come across to an audience member and making subtle changes that simplify the work.

From Wednesday Kingsley Reeve, our composer, joined us and has been making sound for sections as we work on them. For me it has been a new and interesting process to have the composer in the studio and I have been wondering why more choreographers don’t work this way. It allows for a collaborative process that is very satisfying for a dancer as we get to hear the sound refine and evolve as our movement does the same. Kingsley is a very talented composer but also holds theatre and acting skills so he has been a welcome addition to the entire creative process, not to mention the charm and charisma he brings to the studio.

It is hard not to already be excited about the upcoming performances of Shiver when the studio is filled with so many inspiring and creative people, including our wonderfully competent (and award winning might I add) stage manager. The dancers are beginning to play and have fun with the movement and characters and whole sections are being put together. Next to performing, this is my favourite time in the development of a work and therefore, I have found this week immensely satisfying, even considering a slight hiccup I had on Tuesday with a strained adductor.

Shiver
17 – 19 November 2011
The Dolphin Theatre, UWA
Tickets through BOCS

Pictured: Kingsley Reeve

Pictured: Gerard Van Dyck

Pictured: Leanne Mason

Interview with Jacqui Claus

PLWA. Tell me a little it about yourself.
JC. I graduated from the Diploma course at WAAPA in 2005 and have since been working as an independent dancer here in Perth. As well as this I am studying Nutrition at Curtin University. One day when my body gives up on me I guess I’ll move into the nutrition field but at this stage it’s just something that I find engaging and enjoyable to learn about.

PLWA. Briefly tell me a bit about you role and story in Shiver?
JC. My role in Shiver is one of the four dancers/performers. My story delves into the loss of an heirloom/object that ultimately represents a person who played an integral part in my characters life. This week my role has expanded slightly with the introduction of text, of which I am eager to explore.

PLWA. Tell me about the most exciting day in the studio thus far.
JC. For me the most exciting day in the studio was this Wednesday. It was the first day that we had the entire crew and even though I as out of action due to a minor injury the energy in the room was very supportive and productive. We managed to address the main issues and find good solutions to them and I felt a great sense of achievement at the end of the day.

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Since graduating from WAAPA in 2005 Jacqui Claus has performed in both Australia, and overseas. She has worked with a range of artists from UK based Neville Campbell and Densemble Contemporary Dance Company, to French choreographer Annabell Bonnery. For the past 2 years Jacqui has been working with Perth based choreographers such as Danielle Micich, Brooke Leeder, Alice Lee Holland and Chrissie Parrott. Jacqui performed Chrissie Parrott’s “Cyg.net” for the Strut Short Cuts season earning her the title of Most Outstanding Dancer and Dancer to Watch in the 2009 Dance Australia Critics Choice Survey and won Emerging Artist at the 2010 WA Dance Awards.

Week 1 Day 4 of SHIVER Final Stage Development at CIA Studios, West Perth
Pictured: Leanne Mason & Lewis Kilpatrick Photo: Danielle Micich

Starting the final stage development for a new work is always an exciting time. For the artists, it’s the long awaited chance to finally move into a studio space and work with an eager team of performers, and for us (the producers) it’s the pure satisfaction of getting a project over the financial and logistical hurdles and on the way to presentation.

Danielle Micich is a WA choreographer who has waited very patiently to develop and present her full length dance theatre work SHIVER to Perth audiences. SHIVER started development back in 2008 before Performing Lines WA existed. In 2009 we came on board for the Stage 2 development at The Chapel Space on Angove Street, and now, 1 1/2  years later, we are well on our way to presenting it on stage at The Dolphin Theatre at The University of Western Australia in November.

SHIVER commenced final stage development yesterday at CIA Studios in West Perth.
To follow the progress of this development we will be uploading daily photos on this blog via Flickr

Week 1 of SHIVER Final Stage Development at CIA Studios, West Perth Photos: Danielle Micich

To find out about the show click here.

Last performed at the 2008 UWA Perth International Arts Festival, with rave reviews describing it as “a beautifully crafted work blended light and dance seamlessly, blurring the line between reality and illusion,” Jambird (Chrissie Parrott and Jonathan Mustard) is thrilled to announce they will travel to Korea on Monday to present their award winning production Metadance at two Korean festivals.

Chrissie Parrott’s work was last seen in Korea in 1995, when the Chrissie Parrott Dance Company toured to Seoul. However, this is the first time Metadance will tour internationally.

Parrott’s original cast of four extraordinarily accomplished WA artists; Joshua Mu, Jacqui Claus, Sally Blatchford and Sharlene Campbell, will perform Metadance at the 15th ChangMu International Arts Festival and Daejeon Summer Nights Dance Festival.

Metadance won three WA Dance Awards in 2008 following its Perth season; Best Design and/or Composition in Dance; Outstanding Achievement in Choreography; Outstanding Performance by a Male Dancer (Joshua Mu), and it was nominated for a 2009 Australian Dance Award.

Performing Lines WA Producer Fiona de Garis said, “We are thrilled Jambird have been invited to present Metadance at the 15th ChangMu International Arts Festival in Uijeongbu, Korea. Metadance creates a new dialogue between dance and technology and it is extremely appropriate that the work will be seen in Korea – a country which is a global leader in new technologies. We hope this will open the door for future international collaborations for Jambird.”

For more information click here

Keep in touch with the artists on tour as they write about their experience in Korea by watching this space or joining our facebook page.

Image by: Jon Green