OVERTURE:An immersive dance journey unveiling the palpable moments in a theatre before the curtain rises and the performance begins
This performance is for those who love the theatre and the very idea of theatre. It is a short (one hour) highly evocative contemporary dance piece that has to be experienced. And I say experienced as the audience follows the action around the Eternity Theatre, from bar to dressing rooms, then backstage and onto the very stage itself. It’s moody, it’s kinetic, and the final ensemble piece will knock your socks off.
The plot reminds one of The Red Shoes – the female dancer is torn in a love quadrangle between two men who love her, and her very art itself. How to choose? We, the theatre audience becomes a validating force in itself, rather like Les Enfants du Paradis: when all is said and done, they are all that matter for a true performer.
Overture – Photography by Sam Roberts
The pull of the theatre, of the performance, of all the moving parts that shackle together like gears to create the magic we see on stage every night, is what drives Overture. In our wanderings we get to see the flung costumes on stairs, the empty glasses, the unfurled lipsticks in the dressing room, and most of all the drive, ambition and desires of those who make the shows come alive.
Robert McLean kicks things off as he starts sweeping and cleaning tables – but we know with his grace and physique he is no ordinary cleaner; he does a nice Fred Astaire homage with a broomstick instead of a hatstand. Neale Whittaker, the bartender, leaves Ray-Gun’s breaking for dead, and both he and McLean render skilful duets with Holly Finch, the performer who we see progress from backstage nerves to a triumphant final entry. The theatre seats become the performance area for Yukino McHugh to show off her amazing balance and physicality.
Tegan Jeffrey-Rushton’s choreography – dynamic, angular yet flowing – breaks up the usual contemporary physical moves and surprises with angles and attitudes that you don’t normally see bodies doing. It’s highly kinetic and expressive, but not afraid to use pauses and stillness. It’s theatrical and dramatic, and one can always be amazed at the human ability to tell a complex and compelling story without speech or songs. All the performers embraced the style and form of the dance to tell the story with gusto.
Overture – photography by Sam Roberts
The throbbing bassy soundtrack by Love Supreme had a Tom Waits vibe and is a palpable presence throughout the performance – they should release it.
The final audience ensemble piece puts us on the stage as we watch their stunning closing performance carried out in the seats of the theatre. The precision of the choreography and their delivery of it is a joy to watch. It’s imaginative, colourful, funny, stylish and just so well done.
Is OVERTURE Worth Seeing in SYDNEY?
Should you see this? YES but hurry, it has a strictly limited season. Just note that it’s quite dark and there are lots of stairs to navigate. All worth it.
Overture – photography by Sam Roberts
Tickets and Practical Info for OVERTURE in SYDNEY 🎟️
by Tegan Jeffrey-Rushton co-produced by Artisma Creative Co
Eternity Playhouse, Darlinghurst, Sydney October 1 – October 2, 2025
Direction/Choreography – Tegan Jeffrey-Rushton (with cast collaboration) Co-Production – Artisma Creative Co Performers – Holly Finch, Yukino McHugh, Robert McLean and Neale Whittaker amongst others Music Composition – Love Supreme
Author Biography
At her school in Perth, WA, many centuries ago, Juliana Payne used to hide in the toilets and read books rather than go to sports classes. With a lifelong love of the arts, she naturally now has a minimal income but knows a lot about theatre and literature. She clawed her way to first class honours in English Studies at Edith Cowan University, and they even paid her to do a Masters degree in English Literature there too. In between going to the theatre, the cinema, book launches and arts festivals, she has had the odd job for various government departments and industry associations so you can see why she needs to escape into another world.
