Three world-class choreographers, one unforgettable evening. Sydney Dance Company’s latest show is a feast for the senses, and under-25s can see it for a steal.
Sydney Dance Company returns to the Sydney Opera House with Engine, a dynamic new triple bill that brings together acclaimed choreographers Rafael Bonachela, Fran Díaz and Melanie Lane. Taking over the Drama Theatre, the production pairs powerful contemporary dance with striking costumes, mesmerising lighting and an evocative score.
The program features the world premiere of Bonachela’s The Journey Itself Is Home, the Australian debut of Díaz’s The Mass Ornament, and the return of Lane’s acclaimed Love Lock, showcasing three distinct visions of contemporary dance.
One of the most exciting aspects of Engine is that it marks the launch of Sydney Dance Company’s new $35 under-25 ticket initiative, with this discounted ticket tier being available for all future Sydney mainstage seasons.
We went along to Engine to find out whether Sydney Dance Company’s latest production lives up to its promise of bringing contemporary dance to a new generation of audiences.
Love Lock
The first performance of Engine’s triple bill was Love Lock by Australian choreographer Melanie Lane. This highly acclaimed choreography has travelled around the world, and last year, it performed to sold-out audiences in Paris for an entire week.
Described as a “reimagined folk dance of the future”, the show draws upon “collective experiences of diverse cultures, an accelerating world and disappearing lands.” It begins with a single dancer emerging, birdlike, and moves into an energising, primal shared movement by the company.
The costume design is by celebrated fashion designer Akira Isogawa, and moves from a vinyl-black jumpsuit to colourful, layered fabrics, which were added as the performance continues. It’s mesmerising to see the colours splash across the stage as more contrast is introduced.
One of the most refreshing aspects of Engine as a whole was the uniqueness of each dancer. Some had eyebrow slits, one had a mullet, one a man bun and one bleach blonde hair styled into space buns. They don’t present as a perfectly uniform ensemble, and this is a great strength, as there’s a real sense of authenticity that feels modern and relatable.
For many younger people, the words “Sydney Dance Company” and “Sydney Opera House” might conjure images of something formal, rigid or inaccessible. Engine quickly dismantles those assumptions. As the performance unfolds, you’re drawn not only to the choreography but to the dancers themselves, thanks to their unique presence and style.
The pulsating electronic score (by composer Clark) that accompanies Love Lock is both exhilarating and, at times, overwhelming. As the ensemble erupts into shouts and grunts, the performance takes on a primal intensity, creating a palpable energy that ripples through the theatre. From start to finish, it’s a generous buffet for the senses.
The Mass Ornament
Next on the bill is the Mass Ornament, choreographed by Spanish choreographer Fran Díaz and making its Australian debut in Engine. Díaz shared her excitement about her choreography taking to the stage at the Opera House, stating, “I believe the dancers of Sydney Dance Company are the perfect fit to reinterpret the intense physicality, abandon and emotional rawness that the piece requires.”
For The Mass Ornament, dancers have changed into shiny, dark green sets that look like pyjamas. It crashes onto the stage as two dancers passionately kiss, before transcending into something militant.
The dance is inspired by Siegfried Kracauer’s influential 1927 essay The Mass Ornament, which explores how modern society can reduce people to anonymous parts of a larger system. The dancers were reminiscent of prisoners, sometimes breaking free but often moving like a machine (very fitting to the umbrella term of Engine).
The Journey Itself Is Home
The Journey Itself Is Home is a brand new work by Sydney Dance Company’s Artistic Director Rafael Bonachela. Set to a score by Grammy Award–winning composer Bryce Dessner, the piece draws inspiration from the writings of 17th-century Japanese poet Matsuo Bashō, a master of the haiku. It explores movement as a state of being, exploring the evolving landscape of change, longing and transformation.
Kelsey Lee’s set and costume design is a standout, anchored by a dimpled illuminated structure that dominates the back of the stage. Depending on the lighting, it transforms from appearing as a glowing sun to a luminous full moon, constantly shifting the mood and transporting the audience into someplace otherworldly.
Of the three works, The Journey Itself Is Home stands out thanks to its breathtakingly fluid lifts and intricate partner work, occasionally giving way to moments of solo reflection before the dancers reunite in seamless, intertwined formations.
Dressed in flowing white costumes, the ensemble appears almost weightless, creating a dreamlike performance that is elegant, ethereal and quietly moving. It juxtaposes the harsh costumes of The Mass Movement and finishes the triple bill on a hopeful, dreamy note.
For $35 a ticket, this is a steal
Now I would recommend booking a ticket to Engine, no matter the ticket price, as it is one of the most visually mesmerising performances I have seen in a long time. Whether you’re new to Sydney Dance Company or a longtime fan, this is a production that will have you completely hooked.
If you’re under 25, though, there’s even more reason to go. At just $35, the new ticket initiative removes one of the biggest barriers to experiencing world-class contemporary dance. It’s about the cost of a couple of cocktails or a visit to a major exhibition at the Art Gallery of NSW, yet it offers an entirely different kind of cultural experience.
For many young people, the Sydney Opera House can feel out of reach. This new pricing changes that, making one of Australia’s leading dance companies more accessible than ever. If Engine is any indication of what’s to come, it’s one of the best-value nights out in Sydney for young people.
