Games of snakes and ladders in dance

By NIGEL GEARING

The inspiration for Malia Johnston's Miniatures is drawn directly from the art form she trained in.

"Dance is so untouchable," she says. "You can't script it like theatre and you can't film it. The only way you can experience it is to go to a live show. If you ask the question how do you capture a moment that is precious, then the answer is you can't."

Boxes, ladders and birds are crucial to her latest work. The finale sees Sarah Sproull, Liana Yew and Johnston presented with ladders in front of large boxes by Jacob Sullivan, Paul Young and Julia Milsom before performing an intricate set of moves on top of the boxes, descending into them, then emerging to dance beside the ladders.

"I selected the dancers because they are strong movers," she says. "I provide the task and they provide experiences of that task, so it's not like I'm prescribing, but using these props creates anxiety and balance issues in a small space for not only the audience, but the performers."

Music is crucial to her work. Johnston commissioned former Black Grace dancer Eden Mulholland to write the accompanying music.

Johnston has worked as a freelance choreographer since she graduated from the Unitec degree programme in dance in 1998. Credits to date include choreographing dance company Touch Compass and the Wearable Art Awards in Nelson.

Past experience has taught her that to begin changing your choreography two weeks into a four-week rehearsal regime and with opening night breathing down your neck is not only possible, it's a challenge. Imagery is fine-tuned right down to the wire.

"Audiences are intelligent," she says. "What originally began as six images a year ago and 30 individual pieces two weeks ago has now been merged into one journey about flying away from a constricted place and how you can fall from a high place. It's like a game of snakes and ladders."

Watching Johnston's work make this transition has been fellow Unitec classmate Maria Dabrowska.

"It has quite an intellectual exercise for Malia," Dabrowska says.

Her own choreography Evil Fiona's Love Test came about when Dabrowksa asked playwright and musician Kathryn Van Beek if she could work with her.

The two met while working on the avant garde cabaret Midnight's Laughter at Wellington's Fringe Festival in February.

"I must have really trusted her to do that," Dabrowska says. "I don't know her that well."

Two months later Van Beek came back with the title. "A work about love was the last thing I imagined she'd come up with. But I had spent a year in Wellington and had a lot of fun. It was an interesting time."

The collaborative result is a fusion of songs, dance and stories that are dark, poignant, sexy and at times funny as Dabrowska and Van Beek compare notes on their separate personal missions to discover how Auckland men measure up compared to Wellington men.

Van Beek came up with six songs to accompany Dabrowska's three pieces of emotionally charged choreography depicting how the female character sees herself and how the world sees her - two very different views.

In three duets Sophie Dingemans tries to seduce Jacob Sullivan who at first resists. Dabrowska then enters into a competitive love-hate relationship with Dingemans in the choreography that lasts an hour.

"It does have an autobiographical aspect to it, for both Kathryn and myself," Dabrowska says.


Performance

*What: Miniatures and Evil Fiona's Love Test

*Where and when: Miniatures, TAPAC Theatre, Motions Rd, Western Springs, June 9-12, 8pm; Evil Fiona's Love Test, TAPAC Theatre, June 11-12, 10pm late show following Miniatures