Review: Seeing Through Darkness by Restless Dance Theatre
Seeing Through Darkness draws inspiration from two exhibitions at the Art Gallery of SA and makes the strongest possible claim for the restoration of Restless Dance Theatre’s full funding.
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The return to live performance will surely be a matter of many small steps, and Restless Dance Theatre’s Seeing Through Darkness, presented in partnership with the Art Gallery of South Australia, is a fine demonstration of just what can be achieved.
Seeing Through Darkness draws inspiration from two contrasting exhibitions in the galleries that lead to the performance space.
Chromatopia is a vivid splash of colour, from the dreamy light of Laura Knight’s enormous Harvest to UN Knitted Forms, a wondrous installation by the late and much lamented Annabelle Collett.
The colour drains away as we enter a gallery of dark prints by Georges Rouault.
The dance is strongly influenced by the Rouault pieces, which come from a series that began in the First World War.
The artist spoke of his own suffering and melancholy, and the Restless dancers, more keenly in touch with imperfection than most, are intensely invested in the work.
The movement is at times amorphous, but over time gains a more descriptive character as some of the anguished figures of the prints are described, writ large in shadow thanks to Geoff Cobham’s ingenious lighting.
As the exhibition moved from colour to monochrome, from light to dark, so the dance ends in rich and varied hues. The music, from Hilary Kleinig, is its sonic counterpart. It is immensely satisfying.
Restless artistic director Michelle Ryan has slowly and steadily developed both the artistic and the physical capacity of the company.
This small but significant piece makes the strongest possible claim for the restoration of full funding to this nationally and internationally important ensemble.
Seeing Through Darkness
Restless Dance Theatre
Art Gallery of South Australia
September 4 to October 2 (booked out)