Footnote Dance’s Made in New Zealand, The Opera House, May 26, reviewed by Lyne Pringle.

FOOTNOTE Dance Company gets better and better.
Their NZ Made Season at the Wellington Opera House has become a must see event on the capital’s cultural calendar, and this year the company has arrived at a giddy new level in terms of performance and choreographic content.
It is a potent celebration of homegrown music and dance for New Zealand music month.
Pulieu by Maria Johnson teases out themes and design ideas that have fascinated her for some time – the new work is made to coincide with a performance in Shanghai at the World Expo.  Cascading and lush music from Eden Mulholland propels elaborate and precise movement sequences as the company transforms into a flock of exquisite and fragile birds winging their way through a cityscape.
The work transports us out of the theatre into a mystical world: it is sophisticated, assured, and immensely satisfying.
Bringing humour into dance is not easy but Sarah Foster is really good at it.
Her choreography has a convoluted nonchalance that is immediately engaging for the audience. I admire her cleverness and the dancers in top form relish the material they have created with her in I Changed.
Excellent music by Andrew Foster supports the theatrical textures of the work. There are lightning sharp sequences in amidst physical and vocal goading, but brooding beneath the humorous surface is a dark statement about the cruel strangeness of human behaviour.
I appreciate seeing the two solo works Somebody’s Darling and Stealth with more space and perspective.
Somebody’s Darling choreographed by Michael Parmenter and danced lyrically with great concentration by Francis Christeller is an eloquent interpretation of Douglas Lilburn’s Elegy.
Stealth danced with passionate fervour by Jeremy Poi and choreographed by Ross McCormak to music by Jody Lloyd is an inventive and edgy tour de force.