![]() The paper clarifies (p18) that a “neighbourhood” is “ an area covered by, for example, primary care and their community partners”. The terminology within the paper is both over the top and (at best) confusing. “ Successful integration is the planning, commissioning and delivery of co-ordinated, joined up and seamless services to support people to live healthy, independent and dignified lives and which improves outcomes for the population as a whole” p17). There is no getting away from the meaningless fluff that surrounds descriptions of integration in the paper (e.g. This is apparently one of a set of reforms, as it sits alongside the Health and Social Care Bill and the Adult Social Care Reform white paper. ![]() We are captivated, by the super-human stunts unfolding before us, the sheer beauty of the choreography, and the irresistible urge to imagine all the “what if’s” that could result from playing with gravity.The government published its White Paper “ Joining up Care for People, Places and Populations” on the 9 th February, describing itself as “the government’s proposals for health and care integration”. There is always a stillness that pervades, like an acknowledgement of the things that could go horribly wrong at any time. Music and lighting design are thoughtfully created, adding to the ethereal elegance of these works. Hopefully subsequent performances will see the gaps shortened. It truly does feel like a waste to not pick up from the enthusiasm and keep building up on the energy. ![]() It is understandable that set up has to be completed thoroughly with no room for error, but with each break, the mood in the auditorium slumps down from the fervour we had been left with at the end of the previous piece. Opening night saw fairly long intervals between each work. The team looks especially effortless in their approach here, but are still able to elicit gasps of surprise and pleasure from the crowd. It is the liveliest section of the triple bill, cleverly applying mischief and playfulness to their acrobatic skills. The final work Every Action… injects humour into their craft. Their movements in space allegorise our intimate relationships with love and death, with moments of tenderness, and cruelty. Memento Mori presents life and death as a romance, one that is always at the brink of devastation. The performance plays with ideas of emotional turbulence, using it to create a sense of breathtaking danger at every turn. ![]() In Arc, we see a love triangle set against a backdrop reminiscent of a shipwreck. Relationships between characters are established ambiguously, but our connection with them are certain. Their show incorporates the art of miming, through which they surreptitiously acquire our empathy and identification. They know exactly what we look at at every point in time, and they feed us everything we need by controlling how our eyes move and what we focus on. Their stylistic choices are always simple, but they are masters at communicating to our eyes. Ockham’s Razor succeeds in presenting beautiful imagery and emotionally involving pieces while allowing acrobatics to remain centre stage. Performers: Alex Harvey, Charlotte Mooney, Grania Pickard, Steve RyanĪerial acrobatics can be relied upon to provide exciting thrills, as it easily evokes sensations of tension and vertigo, but to create narratives and imagery that bear strong aesthetic appeal within that framework is a challenging one. Music: Derek Nisbet, Patrick Larley, Penguin Cafe Orchestra Venue: Seymour Centre (Chippendale NSW), Jan 21 – 26, 2014ĭirectors: Ruth Naylor-Smith, Deb Pope, Meline Danielewicz
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