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what the critics said about TRUE STORIES:
"The production is strikingly designed and the dancing is beautiful, with a particularly moving solo by Patrick Thaiday"
Sunday Telegraph, 12 August 2007
"True Stories shows Bangarra's future is in good hands"
Daily Telegraph, 10 August 2007
"X300... visually striking and memorable images"
SX, 11 August 2007
"[True Stories] offers an invigorating blend of voices bringing new moves and attitudes to this vibrant company"
Sydney Morning Herald, 6 August 2007
"This beautifully devised and executed program of contrasting-but-complementary works from Bangarra Dance Theatre is a definitive demonstration why the company is so admired both internationally and at home"
Canberra City News, 5 July 2007
"They [the dancers] are strong and graceful, with not a single accidental step, so the joy of watching dance - intricate, exciting choreography faithfully executed on stage - is constantly fulfilled"
Rave Magazine, 12 June 2007
"In both works, the dancers delivered inspired choreography with a strength and emotion that was tangible from the audience"
Queensland Times, 9 June 2007
"Bangarra has soul"
Daily Mail, 9 June 2007
"In David Page's brilliant score, sounds become menacing punctuation, and archival audio recordings chilling"
Daily Mail, 9 June 2007
"Genevieve Dugard's set provides a visual echo, and all components are suberbly accented by Glenn Hughes' eerie and dramatic lighting effects"
Daily Mail, 9 June 2007
"If Bangarra isn't yet one of the most important dance companies in the world, it ought to be..."
stagediary.com, 9 June 2007
"The contrast of both dance and costume style throughout X300 was bound together by the use of a masterful frenetic soundtrack..."
australianstage.com.au, 8 June 2007
"... Emeret Lu is a knockout"
MX, 24 May 2007
"They make it look so effortless, so beautiful. Gripping and lifting each other with a seemingly featherlight touch, the men and women of Bangarra Dance Theatre flow and whip around, above and below each other"
The Age, 17 May 2007
"This is compelling, enriching dance that takes us all to a deeper place and a stronger connection"
Herald Sun, 20 May 2007
"[Emeret Lu] is colourful, joyful and captures the spirit of the land"
Herald Sun, 20 May 2007
"Choreographer Elma Kris and music designer Steve Francis have created an intricate merging of contemporary and traditional dance"
Herald Sun, 20 May 2007
"Patrick Thaiday, as usual, is a standout, especially in his solo, Black Mist, which highlights his supple body control and unique flexibility"
Herald Sun, 22 May 2007
"True Stories shows precisely why Bangarra Dance Theatre is consistently the most challenging of the country's dance companies"
The Australian, 21 May 2007
"... Smilar Sinak, who combines an authoritative presence with the lightness of a cat"
The Australian, 21 May 2007
"Emeret Lu is a graceful first mainstage work from dancer Elma Kris. Her reverence for the stories she gathered from the Torres Strait is touching and Emeret Lu has a luminous quality"
The Australian, 21 May 2007
On David Page's music: "It is a masterly collage of sounds, eclectic in nature but tightly and tensely constructed"
The Australian, 21 May 2007
"Rings creates striking image after striking image..."
The Australian, 21 May 2007
"Bangarra Dance Theatre is now a mature, distinctive, contemporary dance ensemble with a sophisticated sense of theatricality and a unique repertoire"
The Age, 19 May 2007
"Feet flex, a back arches, a body rises and settles. The bodies arch, curve, yield and resist"
The Age, 19 May 2007
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what the critics said about GATHERING:
"****... Invigorating union of classical
and modern dance... shows both companies to full effect."
Sunday Herald Sun, 26 March 2006
"...a serious, muscular work, studded with
new, magical and dazzling use of unfussy dance ideas."
The Australian, 20 March 2006
"...[the dancers] were almost universally outstanding."
The Australian, 20 March 2006
"...Page let the music wash through the dance,
to buoy, direct and frame it."
The Australian, 20 March 2006
"Rites... is both daring and inspiring."
The Age, 20 March 2006
"A powerful emotional start to the Australian Ballet's
Sydney season... A dance pairing raises the bar for both
sides."
Sydney Morning Herald, 10 April 2006
"The choreography [in Rites] is so perfectly
in tune with the score that we are drawn into the heart
of the movement. Visually its captivating, musically Stravinsky's
'The Rite of Spring' is surprising and challenging, while
choreographically it is harmonious with edge."
Sunday Herald Sun, 26 March 2006
"[The design teams] work for Rites is truly magical,
conveying a sense of awe, ritual and mystery."
The Age, 20 March 2006
"Rites is looking amazing... It's also performed
with a commitment and skill... Page's Bangarra company is
as strong, technically, as it has ever been. The Australian
Ballet dancers bring passion and vulnerability to Rites.
Both companies appear to have benefited from the collaboration:
Bangarra looks sharper and The Australian Ballet looks hotter."
Herald Sun, 21 March 2006
"These performances are also the best I've heard
the Stravinsky played in any theatre. The whispering, weaving
woodwinds and the waves of bright, snarling brass have never
been drawn with such thrilling clarity as AB music director
Nicolette Fraillon and all the Orchestra Victoria players
did at both performances."
The Australian, 20 March 2006
"Stravinsky's score played with vigour by the
Australian Opera and Ballet Orchestra under the baton of
Nicolette Fraillon is dynamic and energetic. The dance is
too."
The Sun Herald, 16 April 2006
"...the fusion of two different performance styles
is executed beautifully."
theprogram.net
"8/10...Its fascinating to watch Australian Ballet
principal artist Steven Heathcote adopting indigenous moves
and to see long-time Bangarra members Sidney Saltner and
Yolande Brown excel in dance with a classical twist."
The Sun Herald, 16 April 2006
" A superb and challenging collaboration... Amalgamate
is exciting from the very first breath... this haunting,
captivating, remarkable score is the stuff from which goose
bumps are spawned. With a seamless merging of the two talented
troupes, you cannot help but admire each for their adaptation
of a dance style so unlike what they are used to. Rites
brings together exciting notions of innovation and controversy
- in music, in movement and in cultural expression. All
involved bring a unique and exciting energy to the stage
- the dancers are evidently alive, embracing the challenge
and the opportunity to step outside the norm, and to mix
with other players. Rounded off with Jennifer Irwin's modern
costume design, Peter England's chic set design and dramatic
lighting by Mark Howett, this whole production is a class
act. Special appreciation must be given to Nicolette Fraillon,
and her orchestra - at their absolute best." State
of The Arts, 31 March 2006
"A real visual treat... Gathering carries so
much meaning for dance theatre and also for political Australia...
If you've never been to the ballet before, or to any modern
dance theatre for that matter, Gathering would be
an ideal place to start."
Drum Media 18 April 2006.
"The entire show was breath taking... Wonderfully fluid
and impassioned dancing, with an inspirational splicing
of two very different cultures... beautifully choreographed...
The movements are all powerful and evocative."
Vibewire.net 26 April 2006
"...punctuated with rich dance contrast and blends.
Page has given The Australian Ballet a fascinating and on-going
marriage, and a passport to new audiences and international
interest."
Sydney Star Observer, 20 April 2006
"As a collaboration, a step towards reconciliation,
Gathering is an important artistic gesture."
3-D World, 17 April 2006
To Gathering
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what the critics said about BOOMERANG:
"There are some stunningly devised solos...
In Malarrar (manta ray) Patrick Thaiday is mesmerising,
sinuously evoking the elegant fluidity of that amazing sea
creature."
The Age, Monday 13 June, 2005
"The intensity of both performers and the effective
set design by Peter England are strong elements of Boomerang."
"Page-Lochard displays a physicality and concentration
beyond his years."
Herald Sun, Tuesday 14 June, 2005
"Peter England's design and Nick Schlieper's lighting
make this a grand production: rich colours, vibrant darkness
and blinding light."
"There were some excellent performances to Steve Francis
and David Page's music, the best of which incorporated eloquent
traditional singing."
"The sinewy Patrick Thaiday zipped and jack-knifed
thrillingly across the stage."
The Australian, Tuesday 14 June, 2005
"There's an exquisitely evocative symbiosis among
the movement."
"The intensity and instinctiveness of the performers'
purpose is compelling, both en masse and in two striking
solos."
"Patrick Thaiday transforms himself into a quivering,
sinuous, undulating, otherworldly creature (how does he
do that? exclaimed someone behind me)."
Courier Mail, Monday 27 June, 2005
"Patrick Thaiday and Sani Townson get to shine, deservedly,
on their own, while the whole ensemble is energised and
focused in delivering a tight performance."
"An evocative blend of themes."
The Sun Herald, Sunday 17 July, 2005
"Stephen Page comes closer than ever before to a
unique Australian dance language."
"A marvellous 90 minutes."
The Sunday Telegraph, Sunday 24 July, 2005
"It resonates with the state of the world."
"The dancing is strong and committed."
"Thematically I found it very moving, powered by the
close ensemble structure and the nature of the performance."
The Sydney Morning Herald, Saturday 15 July, 2005
To Boomerang
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what the critics said about CLAN:
"Exciting dance, great visuals, bold theatricality and persuasive themes."
"The dancers' level of technical accomplishment and ensemble unity is at its highest."
"An exhilarating tide of movement ebbs and flows."
"An outstanding exploration of physicality."
"This is your moment to catch Bangarra, then and now. Don't miss it."
The Sydney Morning Herald, June 28 2004 "Haunting, beautiful and emotional."
"It is impossible to see and not be touched."
"Gorgeous, full of light, mystery and inspiration."
"Leaves the audience feeling both pensive and alive."
The Daily Telegraph, July 9 2004 "A resonating work with depth and clarity."
"The ensemble is captivating throughout."
"The dancers mature and focused approach lends weight to the well crafted choreography."
"Patrick Thaiday's solo performance, in particular, is mesmerising."
"Another brave step in the development of this inspiring company."
The Age, June 15 2004 "This impressive double bill sees Bangarra back near its best."
"It is bursting with ideas and invention."
Herald Sun, June 14 2004 "Clan unites one and all."
"Remarkable and educative dance homage."
"Modern dance and something more spiritual."
"An evocative, entertaining night of dance."
Sun Herald Sun, June 13 2004 "A moving, metaphysical experience the resonance of which transcends words."
"A journey of discovery through the corporeal and spiritual."
"Achingly beautiful, sublimely imaginative and deeply moving."
"Organic and visually striking."
"This is inspiring performance."
Courier Mail, June 3 2004 To Clan page Back to top
what the critics said about Bush 2004:
"A show beyond all description that left all astonished."
"Every movement of the surreal creatures the dancers
portrayed left viewers breathless."
"Her (Kathy Marika) every move was filled with wisdom,
power and love."
"Energy and superb technique filled the stage as the
male performers mimicked creatures from the outback."
"The entire performance demands respect for the aboriginal
land and its people."
"The performance grabbed one's soul without
letting go until the end of the journey."
Star Bulletin, October 11 2004
"Potent and affecting work."
"Bangarra emerges as a totally creative company."
"Bush is Bangarra at its finest, never a reproduction
of authentic rituals, but always a contemporary commentary
on the living traditions and beliefs of the Aborigines."
"An ingenious set by Peter England seems to open up
the earth in a white flash."
The New York Times, October 21 2004
"Bush is a commercial spectacle, an ethnological
homage, and an experimental movement study all at once."
"Bangarra lights the Harvey Theatre stage with an
innovative blaze of physical energy."
"Bangarra demonstrated their immense physical gifts
to another grateful audience."
The New York Sun, October 21 2004
"Bush was a stirring memorial to kin."
"Kathy Balngayngu Marika - a solidly built woman
with flowing white hair presided over the action like an
elder goddess."
"True to its origins there was a sense of reverence
to Bush, but there was also playfulness and a striking theatricality,"
"Bush is a stimulating, rich and textured portrait
of spirituality."
Washington Post, September 2004
what the critics said about Bush 2003:
"Bush sets off with focus, precision and
often great beauty"
"Delivering on the promise"
"An extraordinarily muscular production whose focused energy
rarely lapses and whose surrealist edge never compromises
the integrity of the traditional stories being depicted"
"Blend of physical poetry, reptilian spinal manipulation,
and sinewy lines"
"Deeply moving"
"Crucial to the success, and the undeniably hypnotic power,
of the production is the dominating presence of Kathy Balngayngu
Marika... she brings a natural authority and an intense
dignity to the performance"
"High points include Sidney Saltner's fluid movement and
natural grace in Slither, Rings prepares her spirit and
body beautifully for a journey into the next life cycle
in Feather, Peggy Misi's solo in Bush Pearl is a
glorious celebration of female sensuality"
"Strikingly lit by Nick Schlieper with an ingenious set
by Peter England"
"Bush is one of those works where the content
fills every last corner of the canvas"
The Australian, 26th May, 2003
"Marika's presence is quiet but inescapably powerful. Her life and culture speak through her body language. Just standing and looking or raising one hand, she makes an indeliable impression"
"Rings as dancer in Feather displays her plasticity and ability to give focus and motivation to her dancing. Using the space around her with engrossing projection, she has created a memorable milestone for herself, Page and the company."
"Peter England's set is a miracle of eloquence and sophistication"
"Bangarra's most beautifully staged production yet"
"The success of Bush comes back to the dance"
"Sidney Saltner is outstanding."
"Stick brims with character, humour and a mysteriously meaningful quality that permeates Bush as a whole"
Sydney Morning Herald, 25 July, 2003 "Bush is another milestone in the steady development of Bangarra."
"Profoundly satisfying fusion"
"... coherent and moving statements that are accessible but never simplistic"
"Marika is the source of the story, an element of the land itself"
"The dance language is grounded, earthbound, yet still intriguing and inventive."
"the dancers perform with such intense focus that we also feel the need to penetrate the mystery that is always reverent, sometimes joyous, sometimes ominous and sometimes tinged with profound sadness"
"As an ensemble, the company shows increased cohesion. The women in particulat work superbly together"
"In the present climate when so much contemporary dance seems to be about disenchantment or dehumanisation "generating meaningless action" it is rewarding to be reminded by Bangarra that dance can most profoundly express matters of heart and spirit"
The Age, 16 June 2003 "Bush is testimony to the natural world, the human spirit and the power of creativity."
"This evocative exploration ... takes the viewer through a landscape of spectacular landscape of visual imagery."
"The show's most arresting and magical moment comes when the male goannas hatch from the jet black backdrop then slide to the floor"
"In Slither Rings' choreography on the black and silver sheathed Saltner is beautifully sinuous, arching and undulating"
"Rings' inventive choreography takes Bangarra further into new territory"
"Sublime"
"The ethereal breath infused musical accompaniment is gloriously soaring... the atmospheric compositions are an intrinsic part of the mood for each segment"
"More than any other company in Australia, Bangarra achieves a symbiosis between movement, music, lighting and set, costume and design. The fusion of these elements results in a wondrous world"
"Peter England's breathtaking set evolves with the stories"
"Bush is symbolic of Bangarra's rebirth, emerging from a period of painful darkness [with the death of dancer Russell Page in 2002] with a renewed strength and line up."
"In this beautiful, engaging and spiritually infused work Bangarra has created a memorable tribute to Russell Page and his artistic legacy"
The Courier Mail, May 23, 2003 "Bangarra's interpretative power has never been on more amazing and mesmerising display than in Bush."
"Tribal elder Kathy Balngayngu Marika establishes the sacred mood as a semi ghostly presence who exercises substantial authority with a benign gravity that lacks any pomposity"
"Short sequences that concentrate, without monotony, on earth hugging movements and sinuous, gliding, stamping ensemble work"
"In professional polish and dedicated performance it is the equal of the Australian Ballet and Sydney Dance Company."
"You'll go a long way before finding a set as good as Peter England's starkly defined mangrove swamp, lighting as precise and sympathetic as Nick Schlieper's, or contemporary musical accompaniment as richly inventive as the soundtrack by David Page and Steve Francis."
The Sunday Age, June 15, 2003 "Marika's compelling presence is vital in legitimising a mid point between the literal and symbolic content"
"An extraordinary set by Peter England"
"Bush is an accomplished, emotionally engaging work"
Melbourne Times, June 2003
"stunning"
"another highlight is Frances Rings ethereal performance in Feather"
"David Page's spiritual musical composition which sits beautifully with his brothers choreography"
"The work is earthy and spiritual and at the same times pays tribute to the long history of Indigenous people and showcases some extraordinary performances"
Daily Telegraph, 25 July 2003 "Bush is an exhilarating amalgam of the ancient and modern, the cerebral and the physical, the spirit and the mind, sophistication and simplicity."
"Marika is at once imposing and maternally embracing"
"Bush is a ravishing show."
"Rings and Page have written another chapter in their unique dance vocabulary and created images of surpassing beauty"
Sunday Telegraph, 27 July 2003 "Compelling... unexpected and visually very exciting"
"Whilst the initial images stimulated the mind, following images awoke the senses in a powerful way"
State of the Arts, May 2003 "Bush is to date one of the best works in Bangarra's repertoire"
"Jennifer Irwin's costumes are vibrant yet understated. While beautiful in their own right, they compliment the dancers and enhance the choreography"
"Peter England's breathtaking sets contribute strongly to this sensory extravaganza"
"The renewed line up of dancers is languid and expressive with a strong sense of ensemble in the group"
"Bush is not just a piece of dance. It is the creation of a sensory experience through the combination of movement, colour, sound and symbolism.
"The movement creates some stunning imagery that is supported by a haunting soundtrack, mythical set and vibrant costume design."
"The work is bith fluid and expressive as Page and Rings lure the audience into their Dreamtime."
The Blurb, May 2003 "A performance by Bangarra is always something special. Bush is one of the best things they have done; it's a perfect melding of talented collaborators and passionate dance"
"Rings is developing fast as a dancemaker; her sections in Bush were some of the strongest parts of the work"
"The general atmosphere is one of secret activity, subtle awakening and nocturnal revelation"
"Bangarra's works are always imbued with extra layers, a special deep magic that makes them unique in contemporary dance"
Inpress Magazine, June 2003 "Near perfect fusion of movement and song."
"Every piece is somehow borne on stage, perfectly formed and performed. Which is why there is rapturous applause after every single dance."
"There is an effortless, euphoric quality to the whole night, you are drawn into a trance"
"David Page and Steve Francis' music transported us through each collision of nature and culture"
"Sidney Saltner was a highlight in his silvery grey suit of scales, his body coiled one minute, then wriggling and stretching around like he no longer had a spine.'
"All in all this was a near perfect night. And a sense of renewal for a dance compnay and a family who stand strong after the loss of their little brother, Russell Page."
Drum Magazine, 29 July 2003 "Bangarra must be the closest thing Australia has to a national dance company"
"Page should be proud that his efforts are doing more to bridge the reconciliation gap than any other endeavour"
"The lithe movements from all the dancers are astounding"
"No wonder Bangarra sold out its American tour"
"Bush is a fascinating performance of mood and movement"
Central Coast Herald, 31 July 2003 "Marika's presence is vital in finding a midpoint between the literal and symbolic content"
"Rings composes movement with a fluid and assured hand"
"An extraordinary set"
"The costumes are sufficiently abstracted to allow for wonderful explosions of meaning and interpretation"
"Bush is an accomplished, emotionally engaging work. That it almost entirely leaves behind Western concerns - and works on a lyrical, abstracted plane - is its core strength."
Stage Left Review, 6 August 2003 "masterfully evocative"
"Full and sensual female solos that captured the essence of the work"
"Rings danced with a sense of wonder and underlying passion that was infectious. I felt completely drawn into the world she created on stage"
"dressed all in black, the final ensemble created a depth of spiritual feeling beautiful to behold"
"The sections were strongly linked, both stylistically and in the smooth transition from one to another"
"The set reflected gorgeous images of feathers and sticks"
"all of the work by the supporting artists was magnificent including music, costuming and lighting"
"Bush is a work so full of imagery and intention that it was impossible to digest it all in one sitting"
Dance Insider, 29 July, 2003 "Sidney Salter is the best thing in the show
"he slithers and slides, he rides the air and with a serpentine swoop glides to the floor on his chest. This beautiful passage of choreography, which relies on an almost super human degree of spinal control, is performed with flawlessly sustained ease and animal elegance."
"In Stick the mysterious creatures move with the delicacy of spiders and the caution of detonation experts dismantling a time bomb. One of the spirits wears pointe shoes on his feet, emphasizing his strange form and serious meaning."
BBDance, 29 July 2003 To Bush page Back to top
what the critics said about Walkabout:
"Bangarra gives performances built on substance, spirituality and humanity"
"The company has bravely and unflinchingly confronted issues of race and reconciliation"
"Walkabout breaks new ground"
"Potent... eloquent... striking"
"Brilliantly penetrating imagery"
"Integrity, conviction and commitment of all collaborators"
"Strength, bravery and passion"
"Walkabout was one of the most moving theatre experiences you could hope to encounter"
"Eerily beautiful and unnerving... a characteristic of this company"
"Rings has a bold intelligence that gives the dancers striking imagery within which to work"
"Page's piece is cutting edge."
"Stunning... breathtaking"
"The curvature of a shoulder, the shape of a body, how intensity can express both a lovely optimism and a disquieting strangeness"
"Since 1989, Bangarra has made a huge difference to our aesthetic, and our understanding of what art can do."
Courier Mail, July 26, 2002
"Bangarra is a major creative force in Australia's performing arts world"
"Bangarra's work is highly sophisticated, of the highest artistic standards we expect from local as well as imported companies"
"Creative and effective"
"The dancing is superb...ensemble brilliance"
"Bangarra has become another national treasure"
Australian Jewish News, July 19, 2002 "Bangarra blends modern elements of sensual interpretive movement with traditional Aboriginal dance influences"
"Thematically and symbolically rich"
"The music is trancelike in nature: soothing lullabies, poignant chanting and moving beats evoke the desired emotive effects.
"Lasting memories of strong, warm images"
"This piece of work matures in the mind"
"This work will astound those that are new to this beautiful Indigenous performance"
Drum Media, July 16, 2002 "The stories of Walkabout are unravelling across the city at this moment"
"Out of the embers of the camp fire rises the ghostly, ash covered body of Patrick Thaiday, skin sliding smooth over bony shoulders, a loose limbed, stalking, capricious, black Ariel"
"Heavy percussive rock music is infused with whining strings, women's choirs, humming voices and the great transcendent, traditional songs of Djakapurra Munyarryun"
"Bangarra's dance style does not spring from the usual contemporary dance traditions"
"There is nothing maudlin or breast beating in the way Walkabout's themes are told. In their honesty and humbling simplicity, they are as moving and important as ever"
"Walkabout has an awful lot to tell us and it does so with unassuming and powerful conviction"
The Age, July 4, 2002 "Walkabout is a magnificently danced double bill that reclaims the regenerating journeys central to Aboriginal spirituality"
"Steve Francis provides a dense cinematic mix of Indigenous instruments and voices, natural and electronic sounds"
"Walkabout marks the emergence of a new, intellectually decisive dance-maker in Frances Rings"
"Unpretentious and judicious in her use of tradition, fusion and metaphor, Rings creates dramatic, residual images"
"Rations reveals much of Rings both as woman and artist, one who could easily prove to be another who shapes the future of their people. With her gifts and Page's endorsement, she could well shape our dance theatre experience for years to come".
"Page's intention is anything but hollow; you can imagine him trying to achieve reconciliation single-handed"
"A standout dance is The Call, danced by Russell Page, who flexes and lunges across the floor, catapulting an arm, a leg or his whole body into the air."
The Australian, July 5, 2002 "Bangarra Dance Theatre has regularly given aesthetic shape to the political statements without letting polemic smother art"
"Rations is imaginative and ingenious... it has a cohesive gravity, mournful yet not self pitying."
"A brilliantly conceived and furiously executed sequence where blankets are manipulated in willy-willies of ensemble dancing that define the conflict with white ways."
The Sunday Age, July 7, 2002 "Walkabout is bold, affecting and a move in a fresh direction."
"Francis has composed a strong sympathetic soundscape with some outstanding strands of Aboriginal voices"
"England's contrasting sets conjure instant atmospheric associations"
"Strong, iconographic choreographic language"
"Highlights include clever coordination with blankets and Victor Bramich's powerful duet with a broken fence"
"The journey is rich in characters and theatrical light and shade."
"As a choreographer, Rings has plenty to communicate. As a dancer, she always makes an impact with her strongly delineated style."
"Elma Kris's tormented drug addict is unforgettable. Russell Page has a vivid solo that includes his inimitable backward jumps. Yolande Brown, Sidney Saltner and Peta Strachan have a fluent trio that they danced immaculately on opening night."
Sydney Morning Herald, July 12, 2002 "Impressive choreographic debut for Frances Rings"
"Both Rations and Rush are raw, unpretentious dances that confront a range of cultural issues without trying to water them down"
"Peter England's sets play a huge role"
"Victor Bramich dances two sensuous solos"
"Ningali Lawford connects the works with a quiet presence - her slow spilling of sand is an invitation to reconnect with a more spiritual world"
"Powerful ambiguity"
"Walkabout combines tradition with innovation in design and choreography, allowing for deeper social commentary"
Herald Sun, July 5, 2002 "Rations, choreographed by Frances Rings, flags the emergence of a serious new talent."
"As well as a glorious dancer, Rings reveals herself as a storyteller of power and imagination"
"A stirring and spellbinding dance"
"Walkabout is proof that a company can be brave enough to evolve and grow"
Sunday Telegraph, July 14, 2002 To Walkabout page Back to top
what the critics said about Corroboree (Aust): "Mesmerising... masterful... powerful"
"Djakapurra Munyarryun's charismatic presence transcends genre and style to reach a shared transcultural dance space: he dances alongside the world's greatest"
"Roo is a stabbing critique on our national failure to find reconciliation."
"The subtlety of movement is acute and intense."
Shaaron Boughen, the Australian, June 22, 2001 "Bangarra's telling of stories has reached a fresh level of stylised beauty and poignancy."
"A sensual mating ritual between Frances Rings and Russell Page is rivetingly performed."
"Brolga is danced with the strength of iron under a soft, feather clad surface to create a dreamlike atmosphere."
"A delight"
Sydney Morning Herald, Jill Sykes, September 14, 2001 "An evocative journey that is both earthy and mystical, allowing us to relate yet also dream"
"Frequently inspired... gloriously sensual."
"Powerful images of violent and raw beauty."
"Corroboree challenges, but also unites us on the common ground of the Australian spirit"
Olivia Stewart, Courier Mail, June 22, 2001 "Striking imagery... rituals of arrival, mimicry and sexual awakening. Bangarra have done it again"
"Accessible theatre that speaks directly to the heart"
"Packs a powerful punch and finds a balance between tragedy, mystery and joy"
Hilary Crampton, The Age, July 25, 2001 "Wonderful, rich and varied"
"The showering of water, the dropping of sand, the sliding of oiled turtle bodies and the ochre of the traditional spirit all create a surreal natural playground"
"Corroboree takes us somewhere else, an inspiring place that most of us did not want to leave"
Herald Sun, Stephanie Glickman July 25, 2001 "In the wake of untold misery over the last week [Sept 11 terrorist attacks in the US] there was no better antidote to the sadness, than watching Bangarra Dance Theatre's Corroboree"
Drum Media, Priscella Engall. September 18, 2001 "Believe all the hype, it is not only true, it's understated."
"Seamless integration of Indigenous spiritual aspects with contemporary concerns and urban styles"
"The memory imprinted was sensory and effective and will not be soon forgotten"
Revolver, Jesse Garon, Semptember 17, 2001 To Corroboree page Back to top what the critics said about Corroboree (USA): "Bangarra Dance Theatre is a modern dance troupe unlike any other."
"The choreography, rooted in tradition, flowers in remarkably imaginative new ways"
"Richly varied"
"The stage became a place of mystery"
"Djakapurra Munyarryun loomed imposingly out of mists and darkness like the incarnation of an eternal verity"
New York Times, October 26, 2001 "Stephen Page invokes an unbroken path back to prehistory with an exciting sense of stagecraft in "Corroboree"
"Abstracted ancestral life in vignettes depicting the struggle for survival, the connection with the natural world and the unity of aboriginal society... these vignettes gained cohesion from the strength and authority of Bangarra's 12 dancers, plus the unique presence of Djakapurra Munyarryun as clan elder and link to the spiritual legacy of the past"
"Compelling animal motion and powerful belief systems"
"Modern dance with a sense of self-reliance is rare enough, and modern dance informed by a sense of mission seems almost miraculous"
"Corroboree confirmed intercultural expression as a profound dialogue and a vehicle for growth"
*Russell Page and Sidney Saltner special mentions
Los Angeles Times, November 12, 2001 "Thrilling moments"
"Memerizing"
"The dream continuing in the audience's imagination"
"An arresting statement of primitive, close-to-earth wildness"
"Dramatic and edgy"
Washington Post, October 22, 2001 "The existence of Bangarra Dance Theatre is a reason to celebrate"
"A score that mixes contemporary sounds beats with haunting native chants and instruments"
"Munyarryun is a powerful, shamanistic presence"
New York Newsday.com, October 26, 2001 "Corroboree is Stephen Page's strongest work to date"
"Page's works hymn the value of his people's traditions"
"Russell Page and Sidney Saltner stand out as soloists"
"Rich... vibrant... powerful... "
Village Voice, October 30, 2001 "Striking theatrical images"
"Feverish intensity"
"Powerful"
"Page has successfully transferred qualities of authentic aboriginal movement to the stage, creating a seamless fusion with the Western world"
"Munyarryun is a massive and imposing presence who represents survival and empowerment"
"Bangarra suggests the possibility of a future based on accommodation and tolerance"
The Star Ledger, October 5, 2001 "They came to lay down some of the fundamentals of a 40 000 year old culture and to teach a spiritual message. They more than succeeded on both counts"
"Beautiful evocation"
"Corroboree carried the influence of the late Alvin Ailey and current dance guru Bill T Jones but the heart of the matter lay in the evocations of ancestral ways."
"The original David Page and Steve Francis score was irresistable"
"A superbly charged effort bringing the magic of ancient days to bear on life today"
"Along with the standing ovation for Bangarra, there should have been one for those at the Peace Center who brought this night of magic to town."
Greenville News, October 11, 2001 "Corroboree depicted aspects of life: hunting and gathering, birthing, and racial profiling in a series of visually breathtaking rituals."
"elegant, hard edged lighting"
Dance Magazine, April 2002 To Corroboree USA page Back to top
what the critics said about Skin: "an extraordinarily simple yet evocative piece...
"...eloquent simplicity..."
Sydney Morning Herald, September 21, 2000 "The power of the imagery is so strong...
"...the skill and the individuality of the performers are exciting"
Sydney Morning Herald, September 21, 2000 "Bangarra turns another leaf...
" it is impossible to look away..."
The Australian, September 21, 2000 "...a free and fluid mingling of the ancient and the contemporary..."
The Australian, September 21, 2000 To Skin page Back to top
what the critics said about Ochres: "... something momentous has occurred that has radically changed our thinking about contemporary dance...
"it's impossible to overestimate the importance of Ochres."
The Age July 11, 1995 "... a potent expression of a distinctive choreographic talent at last finding its voice...
" it's that sense of the spiritual within the actual that marks Ochres out as unique and marks it as a watershed in Australian choreography."
The Australian November 10, 1995 "Vibrantly alive...
"vivid body language...
" the choreographers skilfully combine, completely free from inhibition, the traditional with modern, so radiatingly fresh and powerful... "
Berliner Morgenpost August 13, 1995 "Bangarra in one of the most exciting dance companies in Australia today. Ochres is a perfectly constructed piece: powerful, gripping and marvellously performed. The spiritual focus is never lost."
The Age March 31, 1995 To Ochres page Back to top
what the critics said about Fish: "It's the relationship between old and new - the tensions and the possibilities for change - that lies at the heart of Bangarra Dance Theatre's work and courses through this visually ravishing new piece..."
The Glasgow Herald, August 13, 1997 "We get a flavour of centuries old experience mixed with contemporary energy...
" Bangarra is a dance company with a language like no other."
The Guardian, August 14, 1997 "Fish is spellbinding. The character of the dance, theatricality of its presentation and the cohesive spirit that runs through it make it absorbing and thoughtful entertainment."
Sydney Morning Herald, September 19, 1997 "... drawing on and sharing tribal truths (Bangarra) are unbeatable, a spine-shivering, deeply-challenging group of performers."
The Australian, September 22, 1997 To Fish page Back to top
what the critics said about Rites: "When Stravinsky's The Rite of Spring was first performed in Paris, it provoked an angry riot. Stephen Page's Rites, to the Stravinsky score, last night also provoked a riot of a different kind. The audience erupted into approving whistles, stomps and cheers."
The Age October 30, 1997 "Putting the classically orientated Australian Ballet and the Indigenous Bangarra Dance Theatre on the State Theatre stage was a step of inestimable magnitude in our cultural life. The end result, Rites, is a towering triumph."
Sunday Herald Sun, November 2, 1997 Sleekness, clarity and brash contemporary energy from this Australian Troupe. Rites is a fascinating and successful experiment.
The New York Times August 14, 2000 To Rites page Back to top | 
