Nga Hau E Wha
Jan Bolwell
Nga Hau E Wha
Okareka Dance Company
Te Whaea Theatre
Reviewed by Jan Bolwell
FROM its Butoh- style opening to the final tableau as dancers clamber onto a rope representing a pou, Nga Hau E Wha is an intense dance piece that glows with integrity and demonstrates fine ensemble performances.
Taiaroa Royal and Taane Mete formed Okareka Dance Company in 2007, and a self-regarding programme note tells us are New Zealand ‘dance royalty.’ Nga Hau E Wha is a much stronger work than their first effort, Tama Ma.
Based upon the four elements – earth air, fire and water- presented in a highly abstracted manner, production values are very high and you sense that the designers, John Verryt, Paul O’Brien (whose lighting is outstanding), Mike Hodgson, Elizabeth Whiting and composer Eden Mulholland were involved early on in the production.
The work opens slowly with Hau Puhi: Travelling Wind. It would have been more coherent without the farting interlude that lacks both wit and context. It should go.
Choreographically the stand-out section is Ross McCormack’s Papa Nuka. The movement is innovative, powerful and primeval, finely danced by Mark Bonnington, Jesse Wikiriwhi, Taane Mete, Levi Cameron, and Jonathan Selvadurai and Kimiora Grey. The latter three are students at the New Zealand School of Dance, and they along with fellow dancer, Daniell McCarroll, made an impressive and committed contribution.
Okareka Dance Company
Te Whaea Theatre
Reviewed by Jan Bolwell
FROM its Butoh- style opening to the final tableau as dancers clamber onto a rope representing a pou, Nga Hau E Wha is an intense dance piece that glows with integrity and demonstrates fine ensemble performances.
Taiaroa Royal and Taane Mete formed Okareka Dance Company in 2007, and a self-regarding programme note tells us are New Zealand ‘dance royalty.’ Nga Hau E Wha is a much stronger work than their first effort, Tama Ma.
Based upon the four elements – earth air, fire and water- presented in a highly abstracted manner, production values are very high and you sense that the designers, John Verryt, Paul O’Brien (whose lighting is outstanding), Mike Hodgson, Elizabeth Whiting and composer Eden Mulholland were involved early on in the production.
The work opens slowly with Hau Puhi: Travelling Wind. It would have been more coherent without the farting interlude that lacks both wit and context. It should go.
Choreographically the stand-out section is Ross McCormack’s Papa Nuka. The movement is innovative, powerful and primeval, finely danced by Mark Bonnington, Jesse Wikiriwhi, Taane Mete, Levi Cameron, and Jonathan Selvadurai and Kimiora Grey. The latter three are students at the New Zealand School of Dance, and they along with fellow dancer, Daniell McCarroll, made an impressive and committed contribution.
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