Gloria – A Triple Bill

Gloria – A Triple Bill brings together six dancers each from New Zealand and Australia in a triptych of contemporary dance works for the Aotearoa New Zealand Festival of the Arts.

The first work, Lament, is a world premiere choreographed by The New Zealand Dance Company artistic director Moss Te Ururangi Patterson with a startling original musical score by Shayne P Carter. It reflects on memory, resilience, resistance, and the enduring spirit of Aotearoa through the performers from The New Zealand Dance Company. In loose, comfortable-looking outfits (Chantelle Gerard) and with fluid and dynamic choreography, they are mesmerising to watch as they bring whakapapa into visceral being under elegant golden light (Mark Haslam).

Part two, A Moving Portrait, is an equally engrossing meditation on aging and vulnerability choreographed by Co3 Contemporary Dance Australia founding artistic director Raewyn Hill. Moving to the haunting beauty of Arvo Pärt’s Tabula Rasa Ludus II. Silentium, the Co3 dancers are deliberate, slow, and intimate in their gestures and interactions, flowing over and around one another in diaphanous white costumes (Akira Isogawa) that emphasise the collective nature of the piece. With moments of tenderness and grace, then gentle resistance and even violence, it’s another visually absorbing piece. Haslam again provides beautiful illumination, with the whole work being performed in the confined space of the soft light from an elongated doorway.

The final piece, GLORIA by renowned New Zealand choreographer Douglas Wright, is a joint performance by both companies. It’s accompanied by a contingent from the New Zealand Symphony Orchestra conducted by Dr Joseph Nolan, and a 16-strong Voices New Zealand choir led by chorusmaster Michael Stewart, who masterfully perform Antonio Vivaldi’s Gloria in D Major RV 589. This dance work speaks to the stages of life through a series of short pieces featuring recognisable moments from playful childhood with a human skipping rope, to two young men locked in a wrestling match, sensual procreation, and more until, finally, death. More expansive than the two previous works and with a looser synergy between classical music and modern choreography, this work was less intensely engaging than the first two, but no less successful as a glorious example of contemporary dance.