Bleeker, choreographed by Reed Luplau

There is a certain captivating moment you experience as you explore one of the world's greatest cities.

Bleecker is a journey of self discovery, set in a time of loss and vulnerability. As the world seems to become more self-contained, it is amazing when strangers connect and assemble new relationships that carry their hopes to new levels. Bleecker is open for interpretation - I want to leave you exploring four unique individual paths crossing after midnight.

Enter Closer, choreographed by Kevin Jackson

The idea behind Enter Closer is to take an audience on a journey, exploring the dynamics of human relationships through movement and sound. The concept came up when Simone Pulga and I decided to explore the middle ground between abstraction and narrative using common experiences as a starting point. The piece deals with friendship, the need to belong, curiosity, self confidence, and ego.

Our characters are human, and while the way they move is at times superhuman, the message they deliver will hopefully be a universal one. This is the first time I've choreographed on such a scale, and while it is proving to be quite a challenge on many levels, I have always seen Bodytorque as an amazing opportunity to learn and experiment. The task is made easier by having the luck to work with some of the best artists a choreographer can hope for; Dimity, Sharni, Daniel, and Rudy all made my creative journey an experience I will never forget.

Chemical Trigger, choreographed by Damien Welch

My piece Chemical Trigger is an abstract contemporary ballet, based on the theme of a man unable to control his violent outbursts, and the women who are drawn to him nonetheless. I am hoping to convey the feelings of the man struggling with his guilt, the release he feels after committing an act of violence, and the sorrow and anger the women around him feel. Alice and Robyn's characters are ghosts or memories: insubstantial; more in his head than real.

The music is made up of three short pieces of my own creation. I think they carry a certain feeling of malevolence under a slightly pretty façade. As this is my first ballet, I'm looking to discover my style and some form of choreographic vocabulary, and to portray the story more as feelings than a literal interpretation.

Fade Not, choreographed by Remi Wortmeyer

With her final breath a mother evokes the life and love destined for her newborn daughter through a bittersweet lullaby.

Libretto
Fade not, my child, not now not ever
Into the day you trip
Wilt not beneath what first-light brings
Let morning warm your lips
Those lips, un-kissed,
yet whispered life
As life from mine rescinds
Forcing me into the dark
One song ends and one begins
Take this song and make it yours
Learn its glad refrain
Hear too its sorry melody
Its voice of true love's strain
But when he finds you yield it up
Its merits match with his
Discover then the one you lost
Whose song in yours still lives
And dance, my love, two side-by-side
A dance of hand and heart
Two beating breasts the cadence keep
And echo my depart
With joy I give my life to you
Bequeath the day for night
My weary face withdraws in black
As yours upturns in white
I fade with knowledge that my song
In you once more elates
Fade not, my child, not now not ever
For me it is too late
M.J.M. Rock

Veiled in Flesh, choreographed by Robert Curran

Michael Ondaatje, in a book that changed my life, wrote of how feelings between people can be "veiled in flesh" - an idea that goes back to the Bible in John 1:14 - where the sensations that are experienced through touch are the only, or perhaps the best, way to communicate. In an intimate relationship this communication through touch is a special thing; a thing that does not come easily to all; a thing that separates the relationship from all others; but also the thing that can betray your feelings as different from what you say.

In the 2004 movie Crash, Detective Graham Waters says, "It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something."

Are we headed further and further away from each other, or will we all experience the communication that is Veiled in Flesh?

Nightly casting is available approximately two weeks before the season begins. Please visit again closer to opening night.

Subscriber discount price for additional single tickets shown in blue.

All seats are A reserve in the Sydney Theatre.

Sydney Theatre at Walsh Bay

22 Hickson Road Walsh Bay

Sydneytheatre.org.au