Review: Rafaelo Bonachela’s 360 degrees

August 1 2009

Review: Rafaelo Bonachela’s 360 degrees with Sydney Dance Company.

Isaac Theatre Royal, Christchurch.

By Talia Shadwell

New Sydney Dance company director Rafael Bonachela is a self-professed “movement junkie”, and his latest creation 360 degrees brilliantly captures his addiction. Barcelona- born Bonachela choreographs a talented ensemble of sixteen through a versatile performance, for which the title 360 is an appropriate description.

The show opens with a spectacular light display, setting the scene for the strange juxtaposition of urban and organic dance styles that follow.

Bonachela’s troupe contorts every inch of their bodies in an exploration of human existence through contemporary dance, contrasting recognisable modern styles with a very primal brand of expressionism.

The performance begins with a haunting solo by Juliette Barton, and makes full use of the highly talented corps who dance their way to a polished result.

Bonachela’s dark sequences are complemented by Tony Assness’ simple costume design, the dancers’ full-body geometric tattoo printed suits accentuating their wild and at times spasmodic movements, with Hugh Taranto’s arrhythmic lighting technique completing the sensual assault.

Connor Dowling’s solo showcased his talent and made for amongst the more impressive performances of the night, with his fevered interpretation of Bonachela’s choreography drawing the most enthusiastic audience response.

The opening scenes had the audience twitching in their seats along with the scantily clad dancers, as they writhed and knotted their bodies in unimaginable ways to a eerie soundtrack including pseudo-classical pieces by Exio Bosso and Asa-Chung.

The set design added a fourth dimension, with mirrors capturing the cast’s movement from every angle, and providing a backdrop for the limber creatures that scavenged and lunged energetically across the floor.

Chinese émigré Chen Wen gave an outstanding performance, constantly commanding attention with his elegant sense of line and balletic poise.

A video installation provided a background that was at times distracting, but featured imagery tracing time through flora and fauna to the downright modern, with dizzy traffic scenes punctuating the final sequences.

The unhindered physicality intertwined sexuality, technology and violence, and Australian artist Foetus’s dark and rhythmic soundtrack provided an explosive climax to a show that, frankly, I am desperate to see again.

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