Tag Archives: shaun parker

Suzy Goes See’s Best Of 2014

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sgs-best2014

2014 has been a busy year. Choosing memorable moments from the 194 shows I had reviewed in these 12 months is a mind-bending exercise, but a wonderful opportunity that shows just how amazing and vibrant, theatre people are in Sydney. Thank you to artists, companies, publicists and punters who continue to support Suzy Goes See. Have a lovely holiday season and a happy new year! Now on to the Best Of 2014 list (all in random order)…

Suzy x

♥ Avant Garde Angels
The bravest and most creatively experimental works in 2014.

♥ Quirky Questers
The most unusual and colourful characters to appear on our stages in 2014.

♥ Design Doyennes
Outstanding visual design in 2014. Fabulous lights, sets and costumes.

♥ Darlings Of Dance
Breathtaking brilliance in the dance space of 2014.

♥ Musical Marvels
Outstanding performers in cabaret and musicals in 2014.

♥ Second Fiddle Superstars
Scene-stealers of 2014 in supporting roles.

♥ Ensemble Excellence
Casts in 2014 rich with chemistry and talent.

♥ Champs Of Comedy
Best comedic performances of 2014.

♥ Daredevils Of Drama
Best actors in dramatic roles in 2014.

♥ Wise With Words
Best new scripts of 2014.

♥ Directorial Dominance
Best direction in 2014.

♥ Shows Of The Year
The mighty Top 10.

♥ Suzy’s Special Soft Spot
A special mention for the diversity of cultures that have featured in its programming this year.

  • ATYP

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Photography by Roderick Ng, Dec 2014

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Best of 2018 | Best of 2017 | Best of 2016 | Best of 2015 | Best Of 2013

Review: Am I (Shaun Parker & Company)

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rsz_r1222886_16043263Venue: Sydney Opera House (Sydney NSW), Jan 9 – 12, 2014
Director & Choreographer: Shaun Parker
Music: Nick Wales
Dramaturge: Veronica Neave
Dancers: Josh Mu, Sophia Ndaba, Jessie Oshodi, Marnie Palomares, Melanie Palomares, Shantala Shivalingappa, Julian Wong

Theatre review
With Am I, Shaun Parker & Company continues to redefine Australian dance and identity. This work relies heavily on traditional Indian forms of performance and Chinese martial arts, to create a new contemporary dance that is not only about Australia but also an international landscape. As societies come to terms with technological advancements and multiplicity in their cultural compositions, art begins to conflate and we seem to be arriving at a time when a universality, in creativity and practice, usurps geographical differences. Shaun Parker’s work is international not only because of its high standards, but also because of its global language.

Shantala Shivalingappa brings an Indian influence that gives the production a sense of dreamlike storytelling. She is an omnipresent narrator, with a magnetism that can only be described as enigmatic. Slight in stature and mild in temperament, it is a wonder that the audience’s attention is completely lost in Shivalingappa’s minimal performance style whenever she takes centre stage. Julian Wong’s talents as a martial artist are utilised to perfection. The way his disciplines are reinterpreted to create a new art form, is probably the greatest achievement of this work. The opening up of something that is seemingly rigid and old fashioned, in order to create a brand new redefining vocabulary in movement is an incredible feat, which the company should be extremely proud of. A particularly memorable moment sees the combination of Wong performing a “qigong” style routine along with Josh Mu’s responses using “popping” from the breakdance lexicon. The meeting of the two is breathtaking, and clearly (as words will no doubt fail), has to be seen to be believed.

Music is performed entirely live with a band and singers that have achieved a magnificent level of symbiosis with the dancers. Lighting design is creative and ground-breaking, with a “wall of light” that provides illumination in all senses of the word. The level of sensitivity at which both these elements are designed and directed is masterful. They are not often in the foreground of proceedings, but are absolutely crucial to the success of the show.

Am I is Shaun Parker’s meditation on spirituality. It inspires ideas on God, creation, and inevitably, the meaning of life. It is Parker using the performance space to ask the biggest questions, and what results is something transcendental and divine. This is a company determined to communicate, and the show speaks to audiences of all kinds. Its concepts are grand but universal; its tone sophisticated but never hoity-toity. It speaks to all, but seeks to appeal to the most sacred that is in us all.

www.shaunparkercompany.com

Suzy Goes See’s Best Of 2013

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Images from a few 2013 stand-outs: A Sign Of The Times, Dirty Rotten Scoundrels, All My Sons, Hamlet, Empire: Terror On The High Seas, Hay Fever, Bodytorque.Technique, Waiting For Godot.

Images from a few 2013 stand-outs: A Sign Of The Times, Dirty Rotten Scoundrels, All My Sons, Hamlet, Empire: Terror On The High Seas, Hay Fever, Bodytorque.Technique, Waiting For Godot.

This is a wrap up of special moments since the commencement of Suzy Goes See in April 2013. A personal selection from over 100 productions seen in Sydney. Thank you to artists, companies, publicists and punters who have supported Suzy Goes See in 2013. I cannot wait for more shenanigans with you in the new year!

Update: Click here for the Best Of 2014 list.

Suzy x

♥ Avant Garde Angels
The bravest and most creative experimental works in 2013.

♥ Quirky Questers
The most unusual and colourful characters to appear on our stages in 2013.

♥ Design Doyennes
Outstanding visual design in 2013. Fabulous lights, sets and costumes.

♥ Darlings Of Dance
Breathtaking brilliance in the dance space of 2013.

♥ Musical Marvels
Outstanding performers in cabaret and musicals in 2013.

♥ Second Fiddle Superstars
Scene-stealers of 2013 in supporting roles.

♥ Champs Of Comedy
The cleverest, sharpest, and funniest performances of 2013.

♥ Daredevils Of Drama
Bold and excellent acting in dramatic roles in 2013.

♥ Wise With Words
The most interesting and intelligent scripts of 2013.

♥ Directorial Dominance
The most impressive work in direction for 2013.

♥ Shows Of The Year
Nice coincidence to have different genres represented: drama, musical, dance, comedy and cabaret.

♥ Suzy’s Special Soft Spot
For an exceptional work I saw in Melbourne.

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Best of 2018 | Best of 2017 | Best of 2016 | Best of 2015 | Best Of 2014

Happy As Larry (Shaun Parker & Company)

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happyaslarryVenue: Everest Theatre, Seymour Centre (Sydney NSW), Sep 10 – 14, 2013
Director & Choreographer: Shaun Parker
Music: Nick Wales, Bree van Reyk
Dancers: Timothy Ohl, Josh Mu, Marnie Palomares, Jana Castillo, Joshua Thomson

Theatre review
Dance culture frequently situates itself in tradition and times past, but Shaun Parker & Company’s is a culture that grounds itself firmly in the here and now. Everything about their look, sound and feel stands for a contemporary aesthetic that is not usually seen in the theatre but in other media, especially on film and television. It is a more accurate representation of modern day Australia than those of lofty and more prominent groups, and the company should also be commended for its efforts at showcasing ethnic and gender diversity.

The dancers have a physical carriage that sets them apart from other professional dancers who tend to be from balletic backgrounds. There is a b-boy/breakdance sensibility that permeates this crew, even though their work is much more varied than that single genre reference might suggest. In fact, it seems to be an ambition of the work to encompass as many dance forms as possible, which provides the show with variety and freshness, and extremely high entertainment value.

Dancer Josh Mu stands out in a memorable sequence that fuses the opposing styles of breakdance with lyrical. Mu is able to be equally powerful in these divergent forms, and the fluidity in his blending of both is completely arresting. Other dancers are less technically brilliant in their abilities, but all are athletic and authentic in their approach. It is also noteworthy that this is a group that places some emphasis on acting and facial expressions, which is always a crowd-pleasing feature.

The invention of a big black rotating box (picture a shipping container) in the middle of the stage is genius. By simply introducing countless options for entrances and exits, the choreography quickly becomes layered and complex. The mobility of the box also removes predictability by altering the stage and performance space, creating a show that continually surprises. It is a matter of contention when considering where “direction” starts and “choreography” ends, but Shaun Parker is undoubtedly strong at both. His work seeks to use dance as a communicative medium, and his point of view comes across with clarity and conviction.

www.shaunparkercompany.com