Bespoke
#Contemporary dance that captivates.
Three choreographers, three world premieres: Bespoke returns with a fresh season of compelling contemporary dance. Now in its eighth thrilling year, Amelia Waller, Yolande Brown, and Robert Binet create a trio of new works to lure audiences into their worlds of innovation, creativity, and storytelling. Always dynamic, forever thought-provoking, Bespoke will expand your expectations of what dance can be.
Former Queensland Ballet and Leipzig Ballet Soloist Amelia Waller has worked with renowned Australian and international choreographers, and performed works by stars such as Meryl Tankard, William Forsythe, and Ohad Naharin. Currently an Associate teacher with Queensland Ballet Academy, Amelia recently choreographed the stunning The Poetic Tantrums for Aspire ‘23.
Yolande Brown is a Bidjara woman and former senior artist and choreographer (Dark Emu 2018, Imprint 2013) with Bangarra Dance Theatre. Recently, Yolande Brown choreographed the 2022 production The Sunshine Club, co-produced by Queensland Theatre and QPAC.
Toronto-born Robert Binet is an acclaimed choreographer whose works have been performed across the globe by esteemed companies including New York City Ballet, Dutch National Ballet’s junior company, Ballett am Rhein, Estonian National Ballet, and Ballet Black. He also choreographed the music videos for Owen Pallett’s Song for Five & Six and Belle and Sebastian’s The Party Line.
Inspired by music, art, and the dancers themselves, this premiere triple bill will linger with you long after you’ve left the theatre.
Please note: This performance will most likely use strobe lighting and theatrical haze and smoke effects.
Generously supported by Amanda, Alexandra and Claudia Talbot and the Ken Talbot Foundation
Venue
Talbot Theatre
Thomas Dixon Centre
406 Montague Road
West End
QLD 4101
Duration
To be confirmed closer to the performance.
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- Q&A
Select Session
#From the Choreographers
Amelia Waller
Curious Beings
Curious Beings is an exploration of Human Behavior through the lens of artificially created beings, exploring the depths of identity, memory, and self-discovery. This performance follows characters who are devoid of any past experience or memory, embarking on a journey of exploration within a world that is unfamiliar yet boundlessly fascinating.
Drawing inspiration from Alasdair Gray’s Poor Things, this piece invites the audience into a world that transcends time and place. The performance weaves a fantastical narrative, where time is fluid and the rules of reality are malleable.
In collaboration with Dead Puppet Society, the production brings these characters to life in an immersive way, using puppetry and movement to blur the lines between the human and the artificial, the animate and the inanimate.
Yolande Brown
Canopy - Cool Burn
A few months before I was asked to work on the Bespoke season, I met the amazing, friendly Fred Leone, who is a fountain of cultural wisdom.
I wanted to be able to bring in a really rich experience, not just for the audience, but also for the Company, the dancers, and for the people who work behind the scenes, to to learn a bit more about the Country where they plant their feet every day.
Fred is a Butchulla man, and is one of the cultural custodians of K’Gari, which is one of the most spectacular places on earth. Such a beautiful place where the sand purifies the water, so that the water lies in the belly of that Country for years being purified. And when it spills out of the creeks, it has the purest water on the earth.
My work is in response to this incredible place that has deep First Nations history, and roots and stories.
Robert Binet
Newborn Giants
Newborn Giants has been developed in collaboration with Devon Healey, a Theatre Artist and Professor of Disability Studies at the University of Toronto who is blind.
Devon believes there are four things that put us most in touch with our bodies, and they are birth and death, (which we don't remember) and blindness and dance.
And both blindness and dance force you to engage with the sensorium in a really different way, and really puts your body on the front lines of all your experiences. But more importantly, they both really encourage you to go beyond the assumptions of what you're seeing and really tap into imagination and a world beyond what's right in front of us.
Devon's voice is woven through the score, and Devon calls this text immersive descriptive audio (IDA). IDA weaves together the physical experience of the dancer, the intentions of the choreographer and the perspective of blindness to create a rich poetic text that lives alongside the dance.
#Partners
McCullough Robertson
