Archives for category: STILLS

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photo by Catherine Griffiths  LTLU  BMC13-57809  BMC13-57857  CHG13-03940  BMC13-57890  BMC13-57894  BMC13-57900  BMC13-57902  BMC13-57933  BMC13-57945  BMC13-57956

LIKE smaller

Georgie Goater and Oliver Connew are friends, good friends. Yet, their personalities are almost diametrically opposed. To Oliver, Georgie is absurd. To Georgie, Oliver is ridiculous.

This is the starting point for Like This, Like Us, the first in a planned triptych of new duets from award-winning choreographer (Best in Dance, NZ Fringe Festival 2012), Oliver Connew. Initially inspired by the dynamics of a friendship, two humanoids explore the rabid cult of individualism in a plastic-wrapped, ready-to-use world where the contemplations of science-fiction have invaded reality and supplanted the need for commonality. Like This, Like Us treads the first steps of a hypothetical path into our future.

Together with new music from accomplished musician Alfredo Ibarra, innovative lighting design by Amber Molloy and stage design by Valentina Serebrennikova, the alien-like physicalities of these performers take, as a reviewer has said of a previous work, a further ‘leap across the yawning chasm of the landscape of “self” that has preoccupied a whole generation of choreographers before…’ [Jenny Stevenson, Theatreview] and instead address issues of a new generation.

Studio Catherine Griffiths Design! (

Thanks Catherine!



A valued response to Globus Cruciger from Val Smith via Facebook…

oliver, loved your work last night, very clever, it continues to unfold in my mind, the complexity of meaning. i think it very effectively dealt with the issue of colonialism. i wondered about having what appeared to be a ‘middle class white girl’ in the ‘native chorus’ crew. but it seems to make sense to me now. loved those trees uprooted. and the casting was great. the subverted footwork taken from kapa haka. very well considered and refinedgood on you, see you round, valVal! Thanks very much. That’s really great feedback. When I noticed that I had chosen a cast so clearly ethnically diverse I realised that I probably wouldn’t be able to control how the audience might read into a brown male dancing with a white female. Skin colour (unfortunately) became a tricky negotiation. But the necessity of that negotiation says things in itself i think..

Thanks again! Glad you got something from it! smile

Over Rover

I paid this yesterday and I feel a bit of a fraud for doing so. Long story short, as is usual with parking tickets, it wasn’t my fault (as in it wasn’t me who put it in an illegal position, it was the mechanic that did) and I shouldn’t have to pay it. I sent a letter ages ago explaining and this was the only reply. To protest further sounded like more than $200 worth of effort and stress, so I rationalised and I paid it. Rationalism, the status quo relies on it. Too much money, effort and stress to serve justice. It is a familiar notion. In this country we are innocent until proven guilty. But we have to pay (significant amounts) to prove ourselves innocent, which seems to me more like ‘guilty until you can pay to prove yourself innocent’. Surely the crown should foot the bill (as well as stress and effort) for all costs until someone is proven guilty, thence the crim can pay. If innocent, then the bill (and stress and effort) should remain with the crown.

Editing footage from An Unfortunate Willingness to Agree for show reel…

The performance of fossil fuel extraction is marked by a great indignity. This work, ‘C’, represents, of course, specific practices and events associated with fossil-fuels, but also, more generally, an ugly and unbalanced relationship with the hand that feeds us. The movement holds an air of increasing desperation about it. ‘C’ speaks of a human arrogance; a white man in white dress in a white room irreversibly compromises the purity of himself and his environment.

Photos by Bruce Connew, 21 June 2012