SHIVER

Only Human

Shiver runs from Thursday, November 17, ’til Saturday, November 19, at the University of Western Australia’s Dolphin Theatre. Bookings can be made through BOCS.

Gerald Van Dyck is no stranger to tearing down artistic boundaries. With close to 15 years experience performing across the country, his unique blend of dance and theatre has earned him a name as one of Australia’s most innovative choreographers, dancers, and creators. Co-founder of the breathtakingly physical KAGE dance theatre (alongside Melbourne dancer and choreographer Kate Denborough), Van Dyck’s innovative and emotional performances have placed him in top demand across the country.

Since the debut of KAGE in 1997, he and Denborough have worked tirelessly to create and perform new and inspiring art works that consistently challenge the emotional limits of dance and theatre.

“I was always trained a dancer, and I think in those early years [Denborough and I] were both probably similarly excited about being more than just a dancer, but being a performer that can evoke emotion,” says Van Dyck. “The training that we’ve both have is taking dance to a very physical level in a theatrical sense – it’s kind of hardcore in a way!”

Van Dyck’s latest endeavour sees him step away from the KAGE spotlight and return to the West Australian stage for a role in Shiver, the most recent work from Performing Lines WA. Choreographed by the highly experienced Danielle Micich, Shiver is a work that deals with loss, love, beauty and isolation in an exceptionally personal and emotional setting. “Shiver is a dance theatre performance that centres in on the emotions of four individuals and the physiologies/psychologies, all who are dealing with some type of lost,” says Van Dyck. “Each character has something different that they are referring to.”

Also featuring Jacqui Claus, Lewis Kilpatrick and Leanne Mason, it is a work that demands much more from its artists then just choreographed steps and routines. Its delicate yet confronting exploration of the vulnerable, of love and lost and life changing decisions make it speak clearly and honestly to audiences of all backgrounds. “[Shiver] is by performers that are not only excellent technical performers, but also actors – the work that I do is not just dance, but it is about telling stories – human stories.”

With the combination of physical demand and artistic integrity at the absolute forefront of this work, it is unsurprising that Van Dyck is full of praise for Micich and the rest of the cast. He waxes lyrical about the production and the performers in a genuinely open manner. “My overall sentiment is of huge gratitude for being invited back,” says Van Dyck. Coming from one who with such a wealth of experience performing and creating physical dance theatre, this appreciation is a sign of the depth of talent that is involved in Shiver, and an indication to audiences that they should expect something remarkable from this performance.

_LEAH BLANKENDAAL