I'm working with different images of the Olympic Games. I'm not giving a story or anything like that.
I'm just giving movement-based phrases that represent discus, the pole vault, and seeing how I can put that into dance terms.
I spent the first week, a couple of weeks, really just sitting in and getting to know the music and getting to know the process of choreography
and was completely blown away by the physicality, something that I hadn't really quite appreciated.
I heard this score, Son of Change Symphony, and there was just something that connected in the brain and in there,
and I just went, OK, this could be really exciting. Music just kind of almost just skims on the surface, it's so fast.
It literally goes one and two and three and four and five and six and one, two, three, one, two, three, one, two.
It keeps changing time signatures.
It made me think about this ceiling in the Oscar Neymar building, and so we discussed all different aspects of lighting
and how this might work within the constructs of a regular theatre space.
It's such a complex, conform the ceiling that it creates all sorts of shadows and reflections and so on.
The key for this piece will be how light kind of interplays with it and really make this another dynamic element,
as well as the dancers, almost like another dancer or something, so it's really kind of interplay between the two.
I was talking to the dancers about resistance.
Things can be athletic, they can be fast, but it needs that kind of resistance within the movement, so it doesn't look easy.
It should actually have that muscularity to it, which I think if you see slow motion, the finish line,
you can see every muscle wobbling, the cheeks are going, it's that kind of resistance and determination, I think.
The good thing is, I think the company are used to John Adams seeing them dance around to that music.
They were just flying, so that kind of made me think, well, that was the right choice.
