Reviewed by Barry Lenny, Friday 1st May 2015
This work,
Rotunda, takes its title from those constructions, such as that in Adelaide's Elder Park, where brass bands would play and people would come to listen and picnic, in times gone past. Now, they stand idle, a reminder of a time gone by before the rush of modern cities, the distractions of so many other pastimes and events, and the ubiquitous intrusion of technology.
The New Zealand
Dance Company's Australian premiere is in Adelaide, before touring other states, with music in this city being provided by the Kensington and Norwood Brass Band. The four male and four female dancers create an evocative series of scenarios associated with the First World War and, in particular celebrate the centenary of the Gallipoli landings in 1915.
The Australian and New Zealand Army Corps (ANZAC) included indigenous peoples from both countries, so often forgotten, or ignored in the histories. They are remembered in this production.
At the start, we see the young men getting ready to go off to war, preparing for a great adventure, blissfully ignorant of the reality that they would soon face. At the end, we see the aftermath of the war from which so many never returned and, of those that did make it through to return home, many were physically or mentally damaged. We see, for instance a soldier die and his friend trying to get him to move and take cover, eventually accepting that he is beyond all such help. We see a returned serviceman rejecting his wife and wanting to be alone.
Servicemen from both World Wars were traumatised by the horrors of war and were reluctant to speak of what they went through. My grandfathers fought in the first war, one in the Royal Navy and one in the Scottish regiment, the Black Watch. My father was with the Royal Air Force in South Africa in the second war. That is as much as I know of their experiences. They never answered direct questions and immediately shut down any attempts at conversation about those times. This production will make a personal connection to many of those who see it.
A row of men blinded in battle walk in file each with their right hand on the right shoulder of the one in front, all led by one man with sight. I grew up after the Second World War and recall seeing men doing just this, as they walked slowly along main roads, in the gutter, singing songs from the war and holding out a cap or box for money. Other groups that one would see, with missing limbs, would play instruments, another might have an old pram, with a portable harmonium on it, singing hymns. A land fit for heroes? No, it was not, and the Great Depression made things worse.
There is also humour, though, such as when the men commandeer the conductor's marching mace, initially going through some of the skilful twirling and throwing carried out by conductors of marching bands in competitions. Things soon get darker, though, as it becomes a weapon, a rifle with bayonet fixed, a rifle shooting the enemy, and the results of fighting.
Tissues were definitely used by some members of the audience to wipe away tears during the most moving sections of this performance.
Conductor, Mark Taddei, is touring with the company, rehearsing each of the bands that they use around Australia. Also touring is New Zealand Army Band percussionist, Cameron Lee
, who appears in uniform playing a snare drum rigged for marching.
Although there was an occasional inaccurate note or two from the band, this was forgiven when we heard a superb euphonium solo of that famous hymn, Jerusalem, by Hubert Parry (Sir Charles Hubert Hastings Parry, 1st Baronet 27 February 1848 -- 7 October 1918).
The work was created and choreographed by Shona McCullagh, the Artistic Director and cofounder of the company, initially inspired by brass band music. The idea of the rotunda being an important part of life before the Great War, the war to end all wars, is reflected in the use of a circular performance area.
This is a powerful and profound work, with much to be learned about the futility of war, and the waste of human and animal life; horses were also a major casualty in the first war. It is a shame that this production is only here for two days, but we can always hope for a return visit.
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