I Like This

CHUNKY MOVE Artistic Director Gideon Obarzanek Executive Producer Rachael Azzopardi Business & Program Manager Hillary Coyne Production & Operations Manager Chris Mercer Marketing & Sponsorship Manager Anna Slowiak Production Administrator Leonie Dixon Development Manager Zadia Lenders Office & Company Coordinator Kimberely Bettinson McCay Finance Administrator Anne MacDonald Class Coordinator Jo Llyod Publicity Miranda Brown Publicity BOARD OF DIRECTORS Stephen Armstrong (chair) Rachael Azzopardi, Peter Biggs, Jeremy Blackshaw, Dr Terry Cutler, Kate Crawford, Tracey Mills, Gideon Obarzanek, Margaret Parker, Katrina Sedgewick, Margaret Thompson.

Chunky Move 111 Sturt St, Southbank Vic 3006 T: +61 3 9645 5188 F: +61 3 9645 5199 E: info@chunkymove.com.au www.chunkymove.com Chunky Move can also be found on Facebook and Myspace

SPECIAL THANKS Chunky Move would like to thank the following people and organisations for their support of I Like This: Chunky Move Board and Staff, Prue Beal, Tom Burless, Susannah Goddard from Millmaine Entertainment, Jordy Hewitt, Joseph from Mr Moto, Malthouse Theatre, Michi Girl, Aaron Moodie, Pro Stage, Proud Mother Photography, RRR, Briony Ridley Photography, Nick Roux, tin&ed, Kelly Warner.

Next Chunky Move production: Chunky Move and Malthouse Theatre present

Photo Andrew Curtis

MUSIC CREDITS Metamorphosis One (Glass) courtesy of G Schirmer Music Australia Askel (Vainio M/Vaisanen I) courtesy of Mushroom Music Lahertys (Vainio Mika Tapio) courtesy of Mushroom Music 44 Magnum Is A Monster (Hermann Bernard) courtesy of EMI Music Publishing Australia Getting Into Shape (Hermann Bernard) courtesy of EMI Music Publishing Australia Rope Stretching Blues I Wanna Be Your Man (Troutman/Troutman/Baader/Kersting/ Jones) courtesy of Sony Music Publishing Australia Good Morning Wales (Baker John William) courtesy of Universal Music Publishing All Through The Night (Shear Jules Mark) courtesy of Universal Music Publishing

Mortal Engine 4 – 8 March 2009 Malthouse Theatre Mortal Engine is a dance-video-laser performance using movement-responsive technology to portray an ever-shifting, shimmering world in which the limits of the human body are an illusion.

Winner: 2008 Helpmann Award – Best Visual or Physical Theatre Production Selected for the Edinburgh International Festival 2008 TICKETS ON SALE NOW www.malthousetheatre.com.au T: 03 9685 5111

Government Partners

Major Partners

Opening Night Partners

Supporting Partners

Cover artwork Paula Levis

Created by Antony Hamilton and Byron Perry

Direction and Choreography: Antony Hamilton and Byron Perry Lighting and Sound: Antony Hamilton and Byron Perry Costume Design: Paula Levis Executive Producer: Rachael Azzopardi Production Manager: Chris Mercer Stage Manager: Leonie Dixon Performers: Antony Hamilton, Stephanie Lake, Alisdair Macindoe, Byron Perry and Lee Serle World Premiere 20-29 November 2008 Chunky Move Studios 111 Sturt St, Southbank Duration: 50 Minutes (no interval) Warning: Strobe lighting effects. chunky move - THE NEXT MOVE Founded by Artistic Director Gideon Obarzanek in 1995, Chunky Move has earned an enviable reputation for producing a distinct yet unpredictable brand of genre-defying dance performance.

I Like This is the first show for The Next Move, a series of performances created by the next generation of Australian dance makers and presented by Chunky Move. The Next Move is designed to bridge the divide between young choreographers making small independent work and more established choreographers running their own organisations.

CONCEPT A room of objects wait patiently in stasis for a purpose, a beginning.

Byron Perry and Antony Hamilton’s new work I Like This is a journey of two men who embark on an unusual creative project; to design an environment, attempt to make sense of it, and begin to control it.

As these two director/choreographers appear on stage creating the work at the same time as it is being performed we watch a show and simultaneously, the making of it. Intimately engaging, I Like This balances between detailed sophistication and delightful mischief.

It’s often comic absurdity, reveals our limited capacity to be able to genuinely communicate to one another and also control or even fully understand our surroundings.

A NOTE FROM ANTONY HAMILTON & BYRON PERRY Right from our first conversations we decided to record everything, these first sessions together were as you might expect, filled with ridiculously unachievable ideas of how the work might play out. Our excitement and interest peaked as long as we kept our dialogue firmly seated in the ridiculous. The minute we settled on an idea we began to lose interest in it. We very quickly became excited by the challenge of extrapolating this unbridled creative fanaticism and find ways in which these fantastically muscular and rhythmic conversations could somehow be transformed into the meat and body of the work.

In order to somehow capture the sheer delight and mutability of

thought our goal was to theatricalise these spontaneous articulations so we became excited by the idea of creating a work that is essentially about itself, a work that didn’t need a theme or story as catalyst for it’s creation but rather one that sprang from a sort of creative cannibalism. We began to like the idea of creating a work that would feed from itself in order to grow and these first recordings seemed like an appropriate food to start feeding it.

In terms of our working relationship we decided early on that the sense of relentless collaboration would be paramount to the success of the work as this was the essence of our original conversations. So we decided that we would work on everything together at the same time and that no matter the genesis or origin of the idea, once it was out it was open game. We have tried as much as possible to limit ourselves in terms of the theatrical topography of the work. It felt right considering the ego-centric nature of the concept that all of the theatrical elements i.e sound, lighting etc should be operated from on stage and by ourselves or the performers. This has left its own distinctive mark on the work and has in many ways dictated the mode of presentation purely through the limitations that it imposes.

Essentially the work is us; present, now and in the moment. Our conversations, interactions and general silliness, our heads emptied, unrestricted and untamed. We’ve taken whatever our minds threw up in the air and caught what pieces we could on the way down.

THANKS Gideon Obarzanek, Rachael Azzopardi, Paula Levis, Kirstie McCracken, Leonie Dixon, Nick Roux, Anna Slowiak, Richard Dinnen, Chris Mercer, Alisdair Macindoe, Stephanie Lake, Lee Serle, Lucy Guerin, Zadia Lenders, Hillary Coyne, Kimberley Bettinson McCay, Becky Hilton, Jo Lloyd, Our Families, Tin&Ed, Ben Speth (he knows), The Classic Curry Co., Bernard Herrman, Pan Sonic, John Baker, Vernon Elliot and The Clangers Opera, Darth Vader, Robert Deniro, Lo Pan, Steven Speilberg, Jim Henson, Chang Tsu, Yoda, Quato, The Prince of Eternia and of course Jack Burton, The Pork Chop Express and The Dreamworld of Dion McGregor.

Direction, Choreography & Performer Antony Hamilton Antony trained in dance in Sydney, Perth and New York. Since 1999 he has worked with Garry Stewart (Australian Dance Theatre), Kate Denborough (Kage Physical Theatre), Gideon Obarzanek (Chunky Move) and Lucy Guerin (Lucy Guerin Inc.) developing roles and performing extensively throughout Australia and overseas.

As choreographer, he has been commissioned to make works for Dancenorth, The Victorian College of the Arts, Stompin and Rogue.

He has also made numerous short works for ADT’s Ignition seasons and Lucy Guerin Inc’s Pieces for Small Spaces seasons.

He was the inaugural recipient of the Russell Page Fellowship in 2004, and winner of the Greenroom Award for Best Male Dancer in 2005. Other notable dance work include collaborations with film director Kris Moyes for music video and television, and choreography for multiple ARIA award-winning band The Presets.

This year he was nominated for The Betty Pounder Award for original choreography for his work The Counting, and premiered his first full-length work Blazeblue Oneline to critical acclaim.

Direction, Choreography & Performer Byron Perry A graduate of the Victorian College of the Arts, Byron has toured throughout Australia, Europe and America developing and performing roles with Douglas Wright, Leigh Warren, Nannette Hassall, Gideon Obarzanek (Chunky Move), Paul Selwyn Norton, Lucy Guerin (Lucy Guerin Inc), Phillip Adams (Ballet Lab), Lloyd Newson (DV8 Physical Theatre), Kate Champion (Force Majeure), Antony Hamilton and Kate Denborough (Kage Physical Theatre). He is a multiple nominee for both the Greenroom and Australian Dance Awards and in 2005 he was nominated for the Rolex Mentor and Protégé Arts Initiative. In 2006 he received an Australian Dance Award for Outstanding Performance by a Male Dancer and won Best Male Dancer at the Greenroom Awards for his years work.

His choreographic work includes Punctuated Equilibrium and The Hayflick Limit for Chunky Move, hest² for the Victorian College of the Arts, Breaks of Asia for The Studio at the Sydney Opera House, A Volume Problem for Tasdance and Goggle Box for which he was nominated for a Greenroom Award for best original choreography.

He has also choreographed and performed in various projects for television and music videos.

COSTUME DESIGN Paula Levis Paula studied fashion design at RMIT and completed a Graduate Diploma in Theatre Design at VCA. She has designed for numerous production companies including Victorian Opera, Danceworks, Tasdance, DanceNorth, Red Stitch Actor’s Theatre and La Mama.

Recently she has designed costumes for Chunky Move (Two Faced Bastard, Mortal Engine, Glow, Singularity, I Want to Dance Better at Parties), Lucy Guerin (Corridor, Structure & Sadness, Aether, Lost Air), Antony Hamilton (Blazeblue Oneline) and KAGE (Appetite, Headlock, Nowhere Man, Costume/Concept Design for Australian Resident Company- World Expo, Japan). She was Design Assistant and Illustrator on the film Tom White and currently teaches design at RMIT. PERFORMERS Stephanie Lake Stephanie Lake is a graduate of the Victorian College of the Arts (2000). She was awarded the Green Room Award for Best Emerging Dancer in the same year as well as the Fringe Award for best

overall show for Trike, which she co-directed with Luke George and Frances d’Ath. Stephanie went on to join Phillip Adams’ BalletLab, Lucy Guerin Inc and Chunky Move and has been performing extensively in Australia, Europe, The US and Asia. She also created Love is the Cause and performed in James Brennan’s award winning Piglet. She has been nominated for both an Australian Dance Award (2003) and Green Room Award (2007) for her work with Lucy Guerin.

Stephanie has also had acclaim as a choreographer with several commissions from Chunky Move (Three’s A Crowd, Arcade and Live Acts), Lucy Guerin Inc’s Pieces for Small Spaces, Stompin (the youth company with which she started dancing) and for Nat Cursio’s Live Clips. She has been selected many times as both a dancer and choreographer “to watch” in Dance Australia’s Critic’s Choice. Stephanie regularly teaches and choreographs at the VCA and her latest work for the 3rd years, Love Child was performed in November 2008. She has two young daughters.

Alisdair Macindoe Alisdair Macindoe is a Melbourne based dancer who trained in dance at the Victorian Collage of the Arts University.

His 2008 performance highlights include: his self devised dance solo Pay No Attention to the Man Behind the Curtain in Melbourne’s Next Wave Festival, Katrina Lazarof’s Pomona Road pt 3, Lina Limosani’s The Tighter You Squeeze (development showing) and Seven with Leigh Warren and Dancers.

Alisdair has also performed in work by Nat Cursio Inc (short works

by Nat Cursio, Jo Lloyd and Gerard Van Dyke), Underpass, Bare Bones Collective, Lucy Guerin Inc, Balletlab (development showing) and Coby Orger.

Lee Serle Lee graduated from the Victorian College of the Arts in 2003. In 2004 Lee began work with Chunky Move (Gideon Obarzanek) and Lucy Guerin Inc, performing nationally and internationally with both companies. He has also performed in works by Neil Adams, Kota Yamasaki, Antony Hamilton, Kyle Kremerskothen, Luke George and Dani-Ela Kayler.

Lee has choreographed A Little Murky for Lucy Guerin’s Pieces for Small Spaces, I’m In Love for Next Wave Festival’s The Nightclub Project and will perform in Shelley Lasica’s Vianne later this year.