October 2001
2001 Next Wave Festival
Denise Green, For Merce 2000
BAM Next Wave Festival sponsor:
PHILIP MORRIS ~lAG(8Ill COMPANIES INC. Brooklyn Academy of Music
Bruce C. Ratner Chairman of the Board Alan H. Fishman Chairman, Campaign for BAM Karen Brooks Hopkins President Joseph V. Melillo Executive Producer presents Cru mpled & Corru pted 2 Chunky Move Approximate BAM Harvey Lichtenstein Theater running time: Oct 10-13, 2001 at 7:30pm 1 hour 15 minutes with Crumpled one 20-minute Choreography Gideon Obarzanek intermission Sound design Hugh Covill and Frank Tetaz Musical compositions Jochem Paap (aka Speedy J), with additional composition material by Hugh Covill and Frank Tetaz Lighting design Margie Medlin Costume design David Anderson with additional treatment by Jane Summers-Eve
Corrupted 2 Choreography and design concept Gideon Obarzanek Musical compositions Luke Smiles/Motion Laboratories Lighti ng design Damien Cooper Costume creation Joke Visser and Anna Tregloan Screen creation Alan Robertson
Performers Fiona Cameron Michelle Heaven Sarah-Jayne Howard Kirstie McCracken Byron Perry Luke Smiles Phillip Adams (understudy) Next Wave Down Under is presented in partnership with the Australia Council for the Arts, the Department of Foreign Affairs and Trade through the Australia International Cultural Council, and the Australian Film Commission. Support is provided by The Australian Consulate-General. Qantas Airways is the official airline for Next Wave Down Under. Next Wave dance programs are supported by The Harkness Foundation for Dance and The Joyce Mertz-Gilmore Foundation. Opening night is sponsored by Philip Morris Companies Inc. with additional support from Marienberg Wines from McLaren 'Vale.
BAM thanks Theatre Development Fund for its support of this season. 25 Production Production manager Donna Aston Stage ma nager Annette Dale Lighting technician David Murray Sou nd operator Lachlan Carrick
Chunky Move Artistic director Gideon Obarzanek Executive producer Jennifer Barry Financial systems manager Sue Westwood Production and operations manager Donna Aston Marketing coordinator Clare Morgan Assistant producer Kate Steele Office administrator Tracey Cromby
Chunky Move Board of Directors The Opera Centre Stephen Armstrong 35 City Road Jennifer Barry Southbank VIC 3006 Daniel Besen-Chair AUSTRALIA Julian Burnside Lou isa Coppel Ph: 03 9645 5188 Jonah Jones Fax: 03 9645 5199 Elizabeth Ann MacGregor Gideon Obarzanek Email: [email protected] Irving Saulwick www.chunkymove.com David Tyndall Si mon Westcott Chunky Move Partnerships for 2001 Arth ur Andersen Asprey Di Donato Minter Ellison Open Mind
International U.S.A. Cathy Pruzan of Arts Becofsky Associates ([email protected]) Representation South America, Mexico & Canada: Art Becofsky of Art Becofsky Associates ([email protected]) Europe Robert Riezouw of Ad Alta Management ([email protected]) Asia Rosemary Hinde of Hirano ([email protected])
Chunky Move is supported by the Victorian Government, through Arts Victoria, Department of Premier and Cabinet and the Commonwealth Government through the Australia Council, its arts funding and advisory body.
Chunky Move would like to thank Ron Layne and all at the Australia Council, the great team at BAM, Nicole Johnston, David Tyndall, Byron Scullin, Cathy Pruzan, Woody from Nitrous, Nick and Allister from Sputnik, Tim Van Nooten from Flight Centre, Alice Blake from the MEAA, and the staff at the Australian Consulate in New York.
26 David Tyndall & Nicole Johnston in Crumpled. Pholo: Jeff Busby
CRUMPLED Much of the choreography in Crumpled entertains an exaggerated sense of reality of what the body can withstand at the point of impact. Rigorous in intent and reckless in manifestation, this work of considered and calculated collisions continues on relentlessly, like an extended action sequence. The body's counterfeit resilience is only betrayed when performers of the work are selectively shut out from the piece together with the audience.
CORRUPTED 2 Rather than a moral or ethical corruption, the digital meaning of 'corruption' refers to defect or damage to data. Corrupted 2 uses this digital premise as a point of departure, to explore a poetic of malfunction. By imposing various limitations and unusual movement tasks, the dancers are made to move in awkward and unnatural ways. The resulting work is both a physical and psychological manifestation of corruption.
-Gideon Obarzanek
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Gideon Obarzanek (artistic director and chore critic on ABC radio and has served on the ographer) studied at the Australian Ballet Boards of the NSW Community Arts School and, after grad uati ng in 1987, da nced Association, Arena Theatre Company, and with the Queensland Ballet and the Sydney Melbourne Workers Theatre. She joined Chunky Dance Company. Obarzanek has choreo Move as Executive Producer in March 2000. graphed numerous works for dance companies and independent projects within Australia, and PERFORMERS his international choreographic credits include commissions for Kibbutz Contemporary Dance Fiona Cameron (performer) graduated from the Company and Nederlands Dans Theater. In Victorian College of the Arts, in 1991, and sub 1995 Obarzanek founded Chunky Move. As its sequently toured with Expressions dance in artistic director, he has secured its position as education team, in Queensland. From 1993 to one of the leading Australian contemporary 1995 she was a founding member of Alias dance companies. Chunky Move has per Compagnie, in Geneva. Cameron created roles formed at numerous international festivals and in En Manque and Moving a Perhaps, for tours regularly across Australia. Since its debut which she was also the assistant director, tour at the 1995 Melbourne International Festival, ing throughout Europe and to Canada. In Chunky Move has created a large body of per London, Cameron co-created Blue for formance work, including projects in CD-ROM Resolutions 95 and performed with Turning and television. Obarzanek has received several Worlds Dance Theatre. Returning to Sydney in awards and nominations for his choreography. 1996, she performed as a dancer/actor in In 1994 he was awarded the Sir Robert Sydney Theatre Company's Medea. With Brett Helpmann Scholarship by the New South Daffy she choreographed and performed in Wales Ministry of the Arts. In 1996 he received DNA's creative development funded by the the Prime Minister's Young Creative Fellowship Australia Council. In 1997 Cameron presented and, in 1997, his choreography for Bonehead the solo Beside Myself at the Edge Theatre and was nominated for Russia's Benois de la Danse performed in Lucy Guerin's Remote and Garry Prize. Bonehead also gained Gideon the 1999 Stewart's Fugly for the One Extra Company. She Mo Award for Best Male Dancer-Choreography. has been a member of Chunky Move since Obarzanek has just returned from Salt Lake 1997, performing in works by Gideon City, Utah, where he rechoreographed his work Obarzanek, Paul Selwyn Norton, Lucy Guerin, Cool White Fridge Knocked Over for the Kate Denborough, Phillip Adams, Shelley Repertory Dance Theatre. Lasica, Byron Perry, David Pledger, and Kim Itoh. She was commissioned to create Buy This Jennifer Barry (executive producer) graduated for Chunky Move, which was performed at Live with a bachelor's degree in communications Acts and at the Melbourne Next Wave Festival Theater/Media from Charles Sturt University and 2000. In 2001 Cameron created the film later earned a master's degree in Theater stud Toyboy and her first full-length work Looking for ies from UNSW. Barry's ten-year career in arts Life Cure as a recipient of an Australia Council management incorporates work in the areas of Emerging Choreographers grant. She has been festival programming and management, com a guest contemporary dance lecturer at the munity cultural development, and freelance Victorian College of the Arts and has taught for publicity, producing, teaching, and project man Bangarra, Chunky Move, One Extra, Alias agement. In 1994 she moved from Sydney to Compagnie, and Ausdance. Melbourne to take up the position of General Manager of Arena Theatre Company, subse Michelle Heaven graduated from the Victorian quently joining Arts Victoria as a Senior Arts College of the Arts, the University of Officer in the area of Organisational Melbourne, with a bachelor's of dance in 1992 Development. Ba rry has worked as a theater and master's of dance performance in 2001.
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She was a founding member of Sue Healey's Paul Selwyn Norton, Lucy Guerin, and Gideon Vis aVis Dance Canberra, performing and Obarzanek. McCracken has also worked with choreogra ph ing with the com pa ny from Tasdance and recently performed a role in Looking 1993-95. Heaven has worked extensively as for Ufe Cure under the direction of Fiona a performer in both live theater and film, work Cameron. She is part of an ongoing collaboration ing nationally and internationally with such between Byron Perry and Luke Smiles, The choreographers/directors as Sue Healey, Phillip Interpretation Machine, and will embark on the Adams (Balletlab); Gideon Obarzanek (Chunky second stage of Kate Champion's Same, Same Move), Douglas Horton (Chamber Made But Different later this year. Opera), Sandra Parker (Danceworks), Lucy Byron Perry (performer), a graduate of the Guerin, Tracie Mitchell, and Leigh Warren. In Victorian College of the Arts, has worked with 1998 Heaven furthered her dance studies in Leigh Warren, Nannette Hassall, Sandra Parker, New York with choreographer Irene Hultman. Douglas Wright, Paul Selwyn Norton, Lucy The same year, under The Emerging Guerin, Gideon Obarzanek, Lloyd Newson, and Choreographers' Initiative, she choreographed a Kate Champion. He has choreographed for short film titled Interior, screened at dance fes stage and television with commissions includ tivals in Australia and internationally, winning ing Punctuated Equilibrium, The Hayflick Limit an award at the International Dance on Screen (Chunky Move), and Hest2 (Victorian College Festival in Sydney, 2000. Heaven is a recipient of the Arts). of The 1999 Da me Peggy Va n Praagh Choreographic Centre Choreographic Luke Smiles (performer/composer), a founding Scholarship and recently won a Victorian Green member of Chunky Move, started his training at Room Award in the category of "Female the Miranda Kalgovas Ballet School, later com Dancer" for her role in the Chunky Move pro pleting a bachelor's of dance at the V.C.A. He ductions of Hydra and Ei Fallen. has performed in Fast Idol/Spectre in the Covert Memory, Bonehead, Wet, f1eshmeet, Bodyparts, Sarah-Jayne Howard (performer) trained at the and· Live Acts for Chunky Move, and Vis aVis New Zealand School of Dance, graduating in Dance Canberra, One Extra Dance Company, 1995. While in Auckland she performed with Meryl Tankard's Australian Dance Theatre, and Sean Curram and Company Blue Vault before Thwack. Smiles splits his time between dancing joining Meryl Tankard's Australian Dance and composing electronic music under the name Theatre in June 1995. With ADT Howard per of Motion Laboratories. His sound work includes formed extensively throughout Australia, Japan, composition/sound design for Chunky Move, America, and Europe, finishing at the Sadler's including Corrupted 2, All the Better To Eat You Wells in London in 1999. Howard has also with, Live Acts, and the Flexible project. In worked with the Auckland Ballet Company and collaboration with Byron Perry (Blufunk), he as an extra on the TV series Xena and composed Punctuated Equilibrium and the Hercules. Prior to joining Chunky Move in sou ndtrack for a joint development project. 2000, she was working with Garry Stewart's Additional projects include Nederlands Dans company Thwack, performing in their national Theatre I, Making Chunky Move CD Rom, the tour of Plastic Space and House Dance, and soundtrack for the short film Stark White by was suspended from the main sa iI of the choreographer Brett Daffy, and the sonic per Sydney Opera House for New Years Eve 2000 forma nce/instaIlation
has also been presented in New York, Boston, and New Zealand. As a freelance choreographer Adams has been commissioned by several lead ing theater and dance companies, including Arena Theatre, Chunky Move, Dance Works, Guongdong Modern Dance Company China, Back to Back Theatre, Sydney Mardis Gras, One Extra Co., Vis aVis Dance Canberra, and VCA. CREW
Donna Aston (production and operations manag er) has worked in production and stage manage ment more than 15 years in Australia, the U.K., and the U.S. Her diverse experience covers the ater, dance, opera, contemporary music, and fes tival production including Sarah Cathcarts' Walking on Sticks, Tiger Country (Melbourne International Festival), Charnber Made Opera's Medea, Improvement: Don Leaves Unda (Melbourne International Festival), Tresno (Sydney Festival), The Two Executioners, Wide Sargasso Sea, Fresh Ghosts, and Matricide: The Musical. Aston has also worked on Voice, Jam & Videotape (Adelaide Festival), Mum's the Word, Dance Works & Stornpin Youth Dance Co's Distance, the inaugural Big West Festival, and The Ghost Wife. Export File was her first interna tional tour with Chunky Move.
Lachlan Carrick (sound operator) has been sound engineering professionally for ten years. He has toured with various rnusicals and concerts throughout Australia, New Zealand, and Japan, and travelled with Chunky Move to Germany and London in 2001. He has engineered such Cameron Macintosh shows as Joseph and the Amazing Technicolour Dreamcoat, Miss Saigon, and Les Miserables. More recently, he was the Phillip Adams (understudy) is a graduate of the co-designer/front-of-house engineer for Joining Victorian College of the Arts and artistic director The Chorus 2001. Carrick is the co-owner of of Melbourne dance company BalletLab. After Cyren, a recording studio in based in Melbourne. living and working in New York for a decade, he His talents also extend frorn backstage as song returned to Australia in 1998 and founded his writer and rnusician with his Melbourne-based own company, BalietLab, which debuted with electronic group Velure. their sell out season of Amplification. Since its inception, the company has toured to Beijing, Annette Dale (stage manager) graduated from Scotland, Germany, England and most recently Newcastle University in 1987. Since then she has freelanced as a stage manager on every to Mongolia to attend the first International thing from dance, drama, and cabaret, to Festival of Contemporary Dance. Adams' work parades and dance parties. A highlight was the 34 \A/bc.'~ ~ALbo -
Sydney 2000 Olympic and Paralympic Games and remixed artists including Aphex Twin. As a where Dale was the presentation manager for producer and music post-production engineer the Archery. She has worked with Chunky Tetaz worked with Biftek, Paul Schutze, James Move since its inception. Gordon Anderson, David Thrussell, Hamish Cowan, and numerous other artists. He is cur David Murray (lighting technician) for five rently producing a new album for High Pass years has worked with lighting in art galleries, Filter and a sound track for ICQ, a short film by museums, warehouses, sheds, war memorials, Greg McLean. cathedrals, on river barges, shipping contain ers, scaffolding, in abandoned arcades, shops, Jochem Paap (aka Speedy J) (composer), from and theaters. Highlights include helping to Rotterdam, for over ten years now has aimed to design, build, and light The Club for the develop new lexicons in electronic music. His Adelaide International Arts Festival 2000, debut album, Ginger, featured smooth, gliding working at Bluebottle, and plagging in Funky techno, and by his debut for novamute in (Adrian) while standing in the Yarra River. 1997, Public Energy No 1, Speedy's current manifesto was beginning to take shape-a link COLLABORATORS between the functionalism of a majority of club dance music and the futurism of the avant Hugh Covill (sound designer/composer) is an garde. A Shocking Hobby, his new album Australian-based composer, sound designer, delves further into the themes visited on his and audio engineer and a pioneer in surround last record ing. sound. He has composed for film, television, and live performance. Sound design work has Margie Medlin (lighting designer) is a media included musicals, ballet, and mixed media artist working in the fields of film, lighting, and performance events. His most current refer projection design. She develops film and video ences have been digital culture, automation, intallations exploring the interrelations of dance and temporal dislocation. In 2000 Covill and the moving image. Medlin has worked formed SoundDesignSolutions in order to real with Danceworks, desoxy theatre, Dance ize his artistic ambitions. Most recently his Exchange. Shelly Lasica, Chunky Move, Ros company completed work on a large-scale sur Warby, Company in Space, and Lucy Guerin round sound installation for Conrad Jupiter's Company, receiving a New York Dance and Casino. As a sound engineer he has an on Performance Award (Bessie) for her lighting of going work relationship with the Sound Dept. Guerin's Two Lies. She has presented a number of the Victorian Arts Centre. of film and video installations, including Elasticity and Volume and Estate. Medlin is Frank Tetaz (sound designer/composer) as a currently artist-in-residence at the ZKM Insitute composer and producer has worked with many for Visual Media, Karlsruhe, Germany. artists, both in recorded music and live per formance. His most recent releases are as a David Anderson (costume design) has worked composer-The Motionless World of Time on various projects, ranging from designs for Between, or The Drunken Taxicab of Absolute strippers and bondage mistresses to assorted Reality, and as producer-James Gordon street performers, cabaret artists, and Chunky Anderson's Concord. Major projects in 2000 Move. include the soundtrack for Lucy Guerin's The Ends of Things, Kage Physical Theatre's Damien Cooper (lighting designer) graduated Melbourne Next Wave festival piece No (under) from the NIDA Technical Production Course in Standing Anytime Kate Denborough's Birthday. 1996 and has since designed lighting for Last year he also produced, orchestrated, and dance, drama, and opera. Theater credits mixed the sou ndtrack for the featu re fi Im Angst, include Theft of Sita (for Performing Lines and
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Fiona Cameron & David Tyndall in Crumpled. Photo, Jeff Busby presented at the 2000 Adelaide and Melbourne Dancers); Under the Influence, Homelands Festivals, Theaterformen Festival Expo Hanover, (Legs on the Wall); and Fusion (Flying Fruit Fly and this fall at BAM); The Ham Funeral Circus). Many of his designs for these compa (Company B Belvoir); Old Times (Ensemble nies have toured throughout Australia, Asia, Theatre); Gypsy Boy, Hansel and Gretel, Exotic America, and Europe. Opera credits include Pleasures (Theatre of Image); What a Piece of Flamma Flamma (opening of the Adelaide Work, Monkey Trap, (Griffin Theatre Company) Festival in association with South Australia and associate designer for Ughts, Camera, Opera); Penelope (Opera UNSW); and Chaos (Fox Studios). Cooper's music credits Grandma's Shoes (Theatre of Image in associa include 1988-2000 Sydney Festival (Taikoz); tion with Opera Australia). Work currently tour The Beat It Concerts 1998-2000, Steve ing: Theft of Sita (Australia, New York, U.K.l, Reich's Drumming (Synergy Percussion); Frank: Birdbrain for Australian Dance Theatre the Sinatra Story in Song (Tom Burlinson); The (Australia, America, Europe, Asia), Corrupted 2 Revolution Will Not Be Televised (Revolutionary with Chunky Move (New York), and The Gift Productions); and Red Square (1996 Adelaide with Flying Fruit Fly Circus (New Zealand). Festival) Recently Cooper completed work on Tivoli, his fourth collaboration with Graeme Murphy; their previous work Air and Other Invisible Forces toured North America and was nominated for a Green Room award for best Lighting Design. Body of Work and Mythologia (Sydney Dance Company) toured Australia with much critical acclaim. His dance credits include Spectre in the Covert Memory, Corrupted 1 + 2, Fleshmeet, Bodyparts (Chunky Move); Plastic Space, Birdbrain, Attention Deficit Theory (Australian Dance Theatre); Heavy, Remote (Lucy Guerin