Nightdance is filled with secret dramas and impenetrable mysteries the way that any dancefloor is, and it’s stitched together with the tight but invisible logic of a dream. And like a dream, when you’re in it you don’t question why this carefully but inexplicably costumed character appears at one point, because there’s an emotional sense to it that’s beyond waking thought. That Melanie Lane successfully puts her audience in that state is a rare triumph, and one that won’t be forgotten.
'Wonderwomen' creates something extraordinary, even if the very ordinary phrase has to be used here now: the staging succeeds in breaking open habits of perception and underneath perceptions.'...'in several respects, this is a rare, strong performance.’
Lane’s more graceful and sombre Remake takes the classical grammar of ballet and strips it of its usual trappings. Indeed, former Australian Ballet dancer Juliet Burnett appears remarkably vulnerable when viewed in isolation — the fragile epitome of a doomed, suicidal princess whirling gorgeously to a predetermined fate. Her lithe, sinewy ballet language is slowly nudged by successive interventions from Lane — her shoes replaced by boots, the royal boudoir now home to bedroom amp rock posturing.
High calibre, truly flawless in their surrender to this nihilistic entourage, boasting strong technique and anchored presence. Bolstered by the electrifying music of Chris Clark and held in its ominous temperament by the exciting lighting of Matthew Adey, Merge is a work that is both abstract and accessible in a truly mesmerizing fashion.
A world worth seeing
Choreographer Melanie Lane has created a tightly-wound, meticulous work featuring four dancers…Within this framework, notions of order and chaos, and individuality and community, come to the fore, represented in the form of physical items that the dancers manipulate and arrange but also in the manipulation and arrangement of the movement. Merge is grounded in a powerful rhythmic structure that complements thoughtful choreographic choices.
Unheimlich und bedrohlich wirkt die Szenerie. Geschickt kommen Lichteffekte zum Einsatz, die die Handlungen der beiden Akteure auf der Bühne begleiten. Ob die beiden Personen diese Schatten erzeugen oder im Gegenteil von diesen geschoben, gezogen, gedrängt werden, bleibt offen. [...] Melanie Lane und Florian Bücking zeigen eine faszinierende Darbietung körperlicher Möglichkeiten.
… in her own Tilted Fawn she delivers an experience quite unlike the various threads that have been woven through Australian choreography of the last decade.
There’s a mythic quality to the work which reveals itself coyly, and it’s as cool and inhuman as true myths always end up being … The referents are never made explicit but it’s hard not to fashion your own interpretation of each configuration presented, and the cold, closed nature of these depictions subtly shifts its audience into a position of meditative spectatorship that allows us to forget our own corporeality.
Perth truly is honored by the presence of an artist as such as Lane, who in collaboration with a celebrated musician, has created a piece that is not only physically innovative but also an emotive sensory journey for the audience.
Tilted Fawn is an effective piece within Lane’s growing oeuvre forming a choreographic relationship between objects, sound and visual design. This collaborative effort with CLARK is visually engaging, cerebrally challenging and aurally intricate.
Melanie Lane and Chris Clark’s Tilted Fawn from Berlin carries its light and shade with sophistication….Dance lineage seems to situate this intervention, illustrating layers of recall which involve intertextuality as well as intimacy.