New Zealand’s leading contemporary dance company Black Grace is celebrating 30 years this year - and their latest production offers an intimate look at a familiar emotion.
Rage Rage was crafted as a response to the chaotic times we live in, and it features dance infused with physical theatre.
Award-winning playwright Leki Jackson-Bourke and emerging dancer Justice Kalolo joined Jack Tame to discuss the project.
"I think people will kinda get the themes we're trying to work with - without giving the show away too much. But there's something that's relatable to everyone who comes to watch."
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Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack team podcast
from News Talks at B.
Speaker 2 (00:12):
You're with Jack Tame on News Talks. He'dbu through to
midday Today. New Zealand's leading contemporary dance company, Black Grace,
is celebrating thirty years this year, and then new Company
B show Rage Rage is about to launch at Auckland's
al Tear Center. Joining us from Black Grace at Lander's
production is the show creator Leaky Jackson Bought our co
creator Leaky Jackson Bork and dance talent Justice calum Or
(00:36):
calder Korder. I thank you for being with.
Speaker 3 (00:38):
Us this morning.
Speaker 2 (00:41):
Let's start off with you Lecky tell us about Rage Rage.
Speaker 4 (00:44):
Good morning, Jacob, Morning listeners. Rage Rage is an exploration
by Company B under Black Grace, and it's pretty much
a multidisciplinary works. There's contemporary dance, there's acting, there's singing,
there's some physical theater, and it's all around the concept
of rage and how we feel rage and different kind
(01:05):
of capacity. We explore a lot of different things. We
look at local issues, national issues, and international things that
are happening around the world, so that all of that
informs the work in the exploration and yeah, we put
it together in a fancy one hour show, and it's
there's something for everybody.
Speaker 2 (01:22):
Yeah, I mean there's lots to be enraged about at
the moment. But is it like explicit the things that
you are performing about, Like, is it obvious the kind
of things that you are enraged by.
Speaker 4 (01:36):
Yes, I think people will kind of get the themes
we're trying to work with without giving the show yeah
too much, but it's there's something that's relatable to everyone
who comes to watch.
Speaker 2 (01:48):
Yeah, so Justice tell us about your role. You have
finished up at toy Facadi last year and this is
like a bit of a kind of multidisciplinary show, right,
So you're acting, you're using kind of you're dancing, there's
singing as well as Yeah, so the whole range of stuff.
Tell us about your role.
Speaker 5 (02:07):
Yeah, so this I feel like the process is completely
new to me. In terms of the dance aspect. I've
never really been in a process where it's, you know,
it's everything you expect from a higher caliber dance company
such as Blackgrass. You know, it's it's physical, it's challenging,
and you know it requires your very best. But yeah,
(02:29):
I think I'm just one of many artists just trying
to portray an image within the show. And yeah, that's
pretty much my role to say. I do obviously singing
it and perform and dancing. It sounds quite fun.
Speaker 2 (02:48):
Is it, like, do you come from a big dance background?
Speaker 3 (02:51):
No, no, yeah, no, not at all.
Speaker 4 (02:54):
He's being very humble here.
Speaker 3 (02:55):
No, no, no, I actually I actually don't.
Speaker 2 (02:57):
I've well, you used to like dancing as a kid, right.
Speaker 5 (03:01):
Yes, yeah, yeah, yeah, yeah, yeah yeah. I grew up
watching all the step ups and stuff like that.
Speaker 2 (03:06):
Yeah, yeah, yeah, But it's a different thing when you're
when you're performing with Black Grayc's company Bait. Yeah, that's
a let's a stiff up. So what was it like
coming into that environment?
Speaker 3 (03:17):
Oh, it was.
Speaker 5 (03:18):
It was an eye opener for sure. I feel like,
you know, there's from the outside perspective, it's like, oh yeah,
you know, black races and things, blah blah blah blah
blah blah. But I feel like it's a bit hard
to explain to people just how you know, how fast
paced the rehearsals are and you know how much it
requires of you unless you're in the room itself, you know,
(03:41):
experiencing that for yourself and you know it's been it's
been amazing. Yeah, sure, but good so.
Speaker 2 (03:49):
Yeah, all but good salt Like as you finish up
and you're like you're you're physically really like like muscular
sore or like slapping yourself saw or like.
Speaker 5 (03:59):
Just muscular Yeah yeah, yeah, but yeah it's been good.
I feel like the first rehearsal, you know, my body
was in the shops like, oh my gosh, this is crazy.
And then you know, as time went on, slowly started
to adapt to it, and yeah, it's been really Nicey
has he been going.
Speaker 4 (04:15):
I think he's done an amazing job. I just when
you're watching Black Grace from the outside, you know, I
guess some people have called them the all Blacks of dance.
Speaker 5 (04:24):
Yeah.
Speaker 4 (04:24):
You know, it's a very physical company.
Speaker 2 (04:26):
It's super physical.
Speaker 4 (04:29):
It's a lot yeah mentally physically, there's a high demand,
and I think for a lot of these new younger performers,
they've really adapted to the culture of Black Grace quite fast.
Or Justice kind of had no choice.
Speaker 3 (04:40):
He was just and when you're in your.
Speaker 4 (04:45):
Yeah, he's done great.
Speaker 2 (04:46):
So when you say the culture of Black Grace, black
Gray's been around like thirty years this year that is
crazy to me. But how would you how do you
think about the culture, how would you explain it to someone?
What distinguishes it?
Speaker 4 (04:59):
It's very unique and reflective of society here and at all.
I think what makes us different obviously is drawing on
traditional kind of MOLDI and Pacific cultural heritage practices art
forms and then looking at it with a content with
contemporary training and a different lens. And I think that
(05:21):
unique blend of traditional and contemporary as well. Yeah, it
kind of defines Black Grace's style and it's real. It's real,
fast paced, high edge cutting physical. If you've been to
a black show, a Black Grace show, you've probably you're
probably sweeting in the audience watching the dancers because there
isn't a lot of time to breathe.
Speaker 2 (05:42):
No, it is, it's a lot, right, So for a
show like that, when you think about Black Grace being
like kind of distinguishing itself with the intensity of its
shows and then you you call a show rage rage,
how do you how do you build nuance into that?
How do you do it? Or do you do you
simply design a show where it's just like you know
what I'm in sense from the word go everyone's just
(06:04):
going like one hundred percent from a word.
Speaker 5 (06:06):
Go.
Speaker 4 (06:07):
Yeah, Well, the show kind of builds builds around rage,
but I guess there's different lay so that and we
unpack what what that looks like for different people. Some
people experience rage and a you know, in a quiet
rage or in a real like still calm storm. So
we we explore different variations of rage. So the whole
thing is not just high impact intents for an hour.
(06:29):
There's you know, there's some slow parts in it. There's
some there's a chance for our audiences to breathe and
take stuff and a little chance, a little chance.
Speaker 2 (06:38):
What do you think about the kind of place of
contemporary dance in New Zealand right now?
Speaker 4 (06:42):
Well that's a that's very loaded question.
Speaker 2 (06:44):
Oh no, no, no, no, I mean I'm yeah, I'm
I'm well, here's here's what makes me think. In the
last few years, I mean the last decade or so,
I feel like there's been such a surge in the
popularity of like modern kind of hip hop dance. Right
you think of the Royal family and what they've what
they've achieved, and I realize that you guys are operating
(07:07):
in different spaces, But I can imagine that a lot
of the people who are drawn to contemporary dance are
also drawn to that kind of dance, and I wonder
how that has influenced the place of black grace and
the place of contemporary dance more more broadly.
Speaker 4 (07:19):
Yeah, honestly, from my own personal view and experience contemporary
dance to New Zealand, I think it's a really underappreciated
art form. We're definitely a sports country. We're a rugby
culture country. As you said, hip hoppa is really popular
here in New Zealand. And I guess when we travel
as Black race overseas internationally, I see how appreciated the
(07:41):
art is by like Americans and stuff the art form,
you know, like Americans love the kind of work that
we do and they hunger for it almost And then
we come back here and nobody knows who we are,
Like you know, there's a certain market or a certain
niche yeah here, And I one of the exciting things
about Black Races that have been able to diversify our
(08:03):
audiences and bring in different members of different communities into
the theater. So last year we had a project and
a lot of non a lot of the non traditional
contemporary dance audience came along to them. It was really exciting.
Like my brother who goes so nothing came to that
and he was like, oh, I actually really enjoyed it
was that That one.
Speaker 2 (08:23):
Was called the Gorilla Collection A right, Yeah, yeah, yeah nice.
Speaker 3 (08:27):
Yeah.
Speaker 2 (08:27):
So so you you kind of purposefully look at other
ways to bring people in and let them experience that.
Speaker 4 (08:32):
Yeah. Previously absolutely, And I think the joy in having
this cast, this cast is so diverse. We've got a
you know, there's a German in it, there's a Japanese girl,
there are some young Pacifica kids in it. There's a
whole mix of different diversity, diverse ethnicities and and genders,
and so I think it's going to appeal to a
really wide audience.
Speaker 2 (08:55):
Yeah, just as how is it working with those people?
Speaker 3 (08:57):
Amazing?
Speaker 5 (08:58):
It's I think the best part about it is is
that you know, just meeting people from different backgrounds and
getting to know them, you know, past the point of
just dance and getting to know them as a human being.
Speaker 3 (09:12):
But yeah, they everyone in the room motivates me every day.
Speaker 5 (09:16):
Like I I sometimes I just observe like they're worth
ethic and then it makes me want to work harder
in the room.
Speaker 3 (09:23):
So yeah, it's been really nice.
Speaker 2 (09:25):
Even when you're just being yeah.
Speaker 3 (09:31):
Yeah.
Speaker 2 (09:31):
So so do you think that when you think about
the kind of different performing streams that you might have
a future for you and you think about your training
get toy for CARDI like, how where how does dance
kind of feature in that?
Speaker 5 (09:45):
That's still a question I'm still trying to figure out
for myself at this stage. I've always I've grown up
loving you know, dance and hip hop. Come from a
hip hop background, but I've also you know, found a
new respectful contemporary dance and that's what drove me to
(10:08):
you know, audition for Company B this year. I was,
you know, it's a form I've always respected, and you know,
I thought that I knew was hard, but I also
wanted to you know, my you know, just diving there
and just try and give it a crack. So yeah, again,
there's still a question. I'm not quite sure where this
power will take me, But yeahs are open.
Speaker 2 (10:32):
Lacky, you won the Bruce Mason Play Running Award last year. Congratulations.
How affirming is that for you?
Speaker 4 (10:43):
Yeah, It's real, It's really humbling. It's awesome to know
that I've been recognized for the plays that I've written,
but it also it's an ode to my parents and
my grandparents and the early investment in my education and
(11:06):
me from a young age. I have no formal training
as a writer.
Speaker 3 (11:09):
Yeah.
Speaker 4 (11:10):
Yeah, I won the Bruces. That's pretty cool.
Speaker 2 (11:13):
Yeah, when you say it's you know, it's a kind
of like tribute to the efforts that they put in.
What do you mean, like they they encouraged storytelling kind of.
Speaker 5 (11:21):
Yeah.
Speaker 4 (11:22):
Storytelling has kind of been always present in our family,
and my grandpa was huge on education, and I guess,
like what motivates me to write and to tell stories
as knowing that he grew up in a different New Zealand. Yeah,
then I did. He grew up here in the nineteen seventies,
which looked much different for Pacific Island people at the time.
(11:42):
And so when I think about my grandpa having to
suppress his language and Hi Do's identity, I'm like, I
don't have to do that. Now I'm privileged. I get
to like celebrate, I get to shine and celebrate and
put my language and our stories on stage on mainstream platforms,
which is awesome.
Speaker 3 (11:59):
Yeah.
Speaker 4 (11:59):
Yeah, that's what I mean by being a dedication to
their struggle.
Speaker 2 (12:03):
Yeah, oh that's so special. Okay, we're almost at a time,
so give us the patch. Why should people maybe even
people who haven't seen a Black Gray show in years
or if ever before, why should they headlong to rage rage?
Speaker 4 (12:18):
Do you want to get first? Come along to rage Rage?
It's it's reflective of our society and everything we see
and experience here and ulti at all as well as internationally.
And I think contemporary dance kind of isn't your thing.
Storytelling might be your thing, and so there's a powerful
story in it. There are a lot of different perspectives
(12:40):
to explore, and yeah, we invite you to come and
have a conversation with us. So don't just come for entertainment,
come for all of the storytelling. Even storytelling. Everybody loves
a good story.
Speaker 2 (12:52):
Yeah, just as anything.
Speaker 3 (12:53):
You want to add, No, I think Leaky hit it
right on the money.
Speaker 2 (12:56):
I'll just add it and say, you can see justice
in the show that he never thought he'd be performing,
and it's his first performance as a sort of semi
professional dancer, so you've got to see that.
Speaker 3 (13:05):
At the very least.
Speaker 2 (13:07):
Thank you so much, guys, Congratulations on the show and
all the very best. We really appreciate it. Leaky Jackson,
Bork and Justice, Color Law, and of course Rage Rage
is going to be opening at Auckland's Altier Center. It's
going to be showing June fourth and fifth. There's more
info at Blackgrace dot co dot nz and we'll have
details on the news talks. He'db website as well.
Speaker 1 (13:27):
For more from Saturday Morning with Jack Tame. Listen live
to news talks he'd be from nine am Saturday, or
follow the podcast on iHeartRadio
You're listening to the Saturday Morning with Jack team podcast
from News Talks at B.
Speaker 2 (00:12):
You're with Jack Tame on News Talks. He'dbu through to
midday Today. New Zealand's leading contemporary dance company, Black Grace,
is celebrating thirty years this year, and then new Company
B show Rage Rage is about to launch at Auckland's
al Tear Center. Joining us from Black Grace at Lander's
production is the show creator Leaky Jackson Bought our co
creator Leaky Jackson Bork and dance talent Justice calum Or
(00:36):
calder Korder. I thank you for being with.
Speaker 3 (00:38):
Us this morning.
Speaker 2 (00:41):
Let's start off with you Lecky tell us about Rage Rage.
Speaker 4 (00:44):
Good morning, Jacob, Morning listeners. Rage Rage is an exploration
by Company B under Black Grace, and it's pretty much
a multidisciplinary works. There's contemporary dance, there's acting, there's singing,
there's some physical theater, and it's all around the concept
of rage and how we feel rage and different kind
(01:05):
of capacity. We explore a lot of different things. We
look at local issues, national issues, and international things that
are happening around the world, so that all of that
informs the work in the exploration and yeah, we put
it together in a fancy one hour show, and it's
there's something for everybody.
Speaker 2 (01:22):
Yeah, I mean there's lots to be enraged about at
the moment. But is it like explicit the things that
you are performing about, Like, is it obvious the kind
of things that you are enraged by.
Speaker 4 (01:36):
Yes, I think people will kind of get the themes
we're trying to work with without giving the show yeah
too much, but it's there's something that's relatable to everyone
who comes to watch.
Speaker 2 (01:48):
Yeah, so Justice tell us about your role. You have
finished up at toy Facadi last year and this is
like a bit of a kind of multidisciplinary show, right,
So you're acting, you're using kind of you're dancing, there's
singing as well as Yeah, so the whole range of stuff.
Tell us about your role.
Speaker 5 (02:07):
Yeah, so this I feel like the process is completely
new to me. In terms of the dance aspect. I've
never really been in a process where it's, you know,
it's everything you expect from a higher caliber dance company
such as Blackgrass. You know, it's it's physical, it's challenging,
and you know it requires your very best. But yeah,
(02:29):
I think I'm just one of many artists just trying
to portray an image within the show. And yeah, that's
pretty much my role to say. I do obviously singing
it and perform and dancing. It sounds quite fun.
Speaker 2 (02:48):
Is it, like, do you come from a big dance background?
Speaker 3 (02:51):
No, no, yeah, no, not at all.
Speaker 4 (02:54):
He's being very humble here.
Speaker 3 (02:55):
No, no, no, I actually I actually don't.
Speaker 2 (02:57):
I've well, you used to like dancing as a kid, right.
Speaker 5 (03:01):
Yes, yeah, yeah, yeah, yeah, yeah yeah. I grew up
watching all the step ups and stuff like that.
Speaker 2 (03:06):
Yeah, yeah, yeah, But it's a different thing when you're
when you're performing with Black Grayc's company Bait. Yeah, that's
a let's a stiff up. So what was it like
coming into that environment?
Speaker 3 (03:17):
Oh, it was.
Speaker 5 (03:18):
It was an eye opener for sure. I feel like,
you know, there's from the outside perspective, it's like, oh yeah,
you know, black races and things, blah blah blah blah
blah blah. But I feel like it's a bit hard
to explain to people just how you know, how fast
paced the rehearsals are and you know how much it
requires of you unless you're in the room itself, you know,
(03:41):
experiencing that for yourself and you know it's been it's
been amazing. Yeah, sure, but good so.
Speaker 2 (03:49):
Yeah, all but good salt Like as you finish up
and you're like you're you're physically really like like muscular
sore or like slapping yourself saw or like.
Speaker 5 (03:59):
Just muscular Yeah yeah, yeah, but yeah it's been good.
I feel like the first rehearsal, you know, my body
was in the shops like, oh my gosh, this is crazy.
And then you know, as time went on, slowly started
to adapt to it, and yeah, it's been really Nicey
has he been going.
Speaker 4 (04:15):
I think he's done an amazing job. I just when
you're watching Black Grace from the outside, you know, I
guess some people have called them the all Blacks of dance.
Speaker 5 (04:24):
Yeah.
Speaker 4 (04:24):
You know, it's a very physical company.
Speaker 2 (04:26):
It's super physical.
Speaker 4 (04:29):
It's a lot yeah mentally physically, there's a high demand,
and I think for a lot of these new younger performers,
they've really adapted to the culture of Black Grace quite fast.
Or Justice kind of had no choice.
Speaker 3 (04:40):
He was just and when you're in your.
Speaker 4 (04:45):
Yeah, he's done great.
Speaker 2 (04:46):
So when you say the culture of Black Grace, black
Gray's been around like thirty years this year that is
crazy to me. But how would you how do you
think about the culture, how would you explain it to someone?
What distinguishes it?
Speaker 4 (04:59):
It's very unique and reflective of society here and at all.
I think what makes us different obviously is drawing on
traditional kind of MOLDI and Pacific cultural heritage practices art
forms and then looking at it with a content with
contemporary training and a different lens. And I think that
(05:21):
unique blend of traditional and contemporary as well. Yeah, it
kind of defines Black Grace's style and it's real. It's real,
fast paced, high edge cutting physical. If you've been to
a black show, a Black Grace show, you've probably you're
probably sweeting in the audience watching the dancers because there
isn't a lot of time to breathe.
Speaker 2 (05:42):
No, it is, it's a lot, right, So for a
show like that, when you think about Black Grace being
like kind of distinguishing itself with the intensity of its
shows and then you you call a show rage rage,
how do you how do you build nuance into that?
How do you do it? Or do you do you
simply design a show where it's just like you know
what I'm in sense from the word go everyone's just
(06:04):
going like one hundred percent from a word.
Speaker 5 (06:06):
Go.
Speaker 4 (06:07):
Yeah, Well, the show kind of builds builds around rage,
but I guess there's different lay so that and we
unpack what what that looks like for different people. Some
people experience rage and a you know, in a quiet
rage or in a real like still calm storm. So
we we explore different variations of rage. So the whole
thing is not just high impact intents for an hour.
(06:29):
There's you know, there's some slow parts in it. There's
some there's a chance for our audiences to breathe and
take stuff and a little chance, a little chance.
Speaker 2 (06:38):
What do you think about the kind of place of
contemporary dance in New Zealand right now?
Speaker 4 (06:42):
Well that's a that's very loaded question.
Speaker 2 (06:44):
Oh no, no, no, no, I mean I'm yeah, I'm
I'm well, here's here's what makes me think. In the
last few years, I mean the last decade or so,
I feel like there's been such a surge in the
popularity of like modern kind of hip hop dance. Right
you think of the Royal family and what they've what
they've achieved, and I realize that you guys are operating
(07:07):
in different spaces, But I can imagine that a lot
of the people who are drawn to contemporary dance are
also drawn to that kind of dance, and I wonder
how that has influenced the place of black grace and
the place of contemporary dance more more broadly.
Speaker 4 (07:19):
Yeah, honestly, from my own personal view and experience contemporary
dance to New Zealand, I think it's a really underappreciated
art form. We're definitely a sports country. We're a rugby
culture country. As you said, hip hoppa is really popular
here in New Zealand. And I guess when we travel
as Black race overseas internationally, I see how appreciated the
(07:41):
art is by like Americans and stuff the art form,
you know, like Americans love the kind of work that
we do and they hunger for it almost And then
we come back here and nobody knows who we are,
Like you know, there's a certain market or a certain
niche yeah here, And I one of the exciting things
about Black Races that have been able to diversify our
(08:03):
audiences and bring in different members of different communities into
the theater. So last year we had a project and
a lot of non a lot of the non traditional
contemporary dance audience came along to them. It was really exciting.
Like my brother who goes so nothing came to that
and he was like, oh, I actually really enjoyed it
was that That one.
Speaker 2 (08:23):
Was called the Gorilla Collection A right, Yeah, yeah, yeah nice.
Speaker 3 (08:27):
Yeah.
Speaker 2 (08:27):
So so you you kind of purposefully look at other
ways to bring people in and let them experience that.
Speaker 4 (08:32):
Yeah. Previously absolutely, And I think the joy in having
this cast, this cast is so diverse. We've got a
you know, there's a German in it, there's a Japanese girl,
there are some young Pacifica kids in it. There's a
whole mix of different diversity, diverse ethnicities and and genders,
and so I think it's going to appeal to a
really wide audience.
Speaker 2 (08:55):
Yeah, just as how is it working with those people?
Speaker 3 (08:57):
Amazing?
Speaker 5 (08:58):
It's I think the best part about it is is
that you know, just meeting people from different backgrounds and
getting to know them, you know, past the point of
just dance and getting to know them as a human being.
Speaker 3 (09:12):
But yeah, they everyone in the room motivates me every day.
Speaker 5 (09:16):
Like I I sometimes I just observe like they're worth
ethic and then it makes me want to work harder
in the room.
Speaker 3 (09:23):
So yeah, it's been really nice.
Speaker 2 (09:25):
Even when you're just being yeah.
Speaker 3 (09:31):
Yeah.
Speaker 2 (09:31):
So so do you think that when you think about
the kind of different performing streams that you might have
a future for you and you think about your training
get toy for CARDI like, how where how does dance
kind of feature in that?
Speaker 5 (09:45):
That's still a question I'm still trying to figure out
for myself at this stage. I've always I've grown up
loving you know, dance and hip hop. Come from a
hip hop background, but I've also you know, found a
new respectful contemporary dance and that's what drove me to
(10:08):
you know, audition for Company B this year. I was,
you know, it's a form I've always respected, and you know,
I thought that I knew was hard, but I also
wanted to you know, my you know, just diving there
and just try and give it a crack. So yeah, again,
there's still a question. I'm not quite sure where this
power will take me, But yeahs are open.
Speaker 2 (10:32):
Lacky, you won the Bruce Mason Play Running Award last year. Congratulations.
How affirming is that for you?
Speaker 4 (10:43):
Yeah, It's real, It's really humbling. It's awesome to know
that I've been recognized for the plays that I've written,
but it also it's an ode to my parents and
my grandparents and the early investment in my education and
(11:06):
me from a young age. I have no formal training
as a writer.
Speaker 3 (11:09):
Yeah.
Speaker 4 (11:10):
Yeah, I won the Bruces. That's pretty cool.
Speaker 2 (11:13):
Yeah, when you say it's you know, it's a kind
of like tribute to the efforts that they put in.
What do you mean, like they they encouraged storytelling kind of.
Speaker 5 (11:21):
Yeah.
Speaker 4 (11:22):
Storytelling has kind of been always present in our family,
and my grandpa was huge on education, and I guess,
like what motivates me to write and to tell stories
as knowing that he grew up in a different New Zealand. Yeah,
then I did. He grew up here in the nineteen seventies,
which looked much different for Pacific Island people at the time.
(11:42):
And so when I think about my grandpa having to
suppress his language and Hi Do's identity, I'm like, I
don't have to do that. Now I'm privileged. I get
to like celebrate, I get to shine and celebrate and
put my language and our stories on stage on mainstream platforms,
which is awesome.
Speaker 3 (11:59):
Yeah.
Speaker 4 (11:59):
Yeah, that's what I mean by being a dedication to
their struggle.
Speaker 2 (12:03):
Yeah, oh that's so special. Okay, we're almost at a time,
so give us the patch. Why should people maybe even
people who haven't seen a Black Gray show in years
or if ever before, why should they headlong to rage rage?
Speaker 4 (12:18):
Do you want to get first? Come along to rage Rage?
It's it's reflective of our society and everything we see
and experience here and ulti at all as well as internationally.
And I think contemporary dance kind of isn't your thing.
Storytelling might be your thing, and so there's a powerful
story in it. There are a lot of different perspectives
(12:40):
to explore, and yeah, we invite you to come and
have a conversation with us. So don't just come for entertainment,
come for all of the storytelling. Even storytelling. Everybody loves
a good story.
Speaker 2 (12:52):
Yeah, just as anything.
Speaker 3 (12:53):
You want to add, No, I think Leaky hit it
right on the money.
Speaker 2 (12:56):
I'll just add it and say, you can see justice
in the show that he never thought he'd be performing,
and it's his first performance as a sort of semi
professional dancer, so you've got to see that.
Speaker 3 (13:05):
At the very least.
Speaker 2 (13:07):
Thank you so much, guys, Congratulations on the show and
all the very best. We really appreciate it. Leaky Jackson,
Bork and Justice, Color Law, and of course Rage Rage
is going to be opening at Auckland's Altier Center. It's
going to be showing June fourth and fifth. There's more
info at Blackgrace dot co dot nz and we'll have
details on the news talks. He'db website as well.
Speaker 1 (13:27):
For more from Saturday Morning with Jack Tame. Listen live
to news talks he'd be from nine am Saturday, or
follow the podcast on iHeartRadio
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