The fourth Short + Sweet Dance program, performed by (busy) local dancers was created from widely varied styles and inspirations. It included performances by a former Cirque Du Soleil trapeze artist and pole champion, as well as the world record holder for the most backward somersaults in a minute!

Susanna Defraia’s routine opened the show, to Sia’s “Breathe Me”. A low-hung trapeze allowed her to float and circle just above the floor, making good use of the space. Defraia created pretty shapes during her fluid routine, gracefully performed.

Jamie Winbank and Olivia Fyfe began their performance using video footage and audio to describe the impact and fleeting interactions we have on another’s life. It would have made sense to continue or conclude with more footage or audio, but standing alone it used too much time for the short performance. Sweet in concept and choreography, the piece depicted near misses and false starts between the dancers. They used repetitive movements with growing momentum to create tension, despite undemanding choreography.

Alison Plevey performed a self-indulgent yet joyous exploration of movement, wearing gumboots full of water – a novel way to create her props! Plevey’s lithe body created awkward movement, which she executed confidently and skilfully. Eventually, her happy dance gave way to laughter and abandon until the audience had no choice but to join her.

Inspired by science, Liz Lea co-created “DNA” with performer Jack Riley. Topology x 174 was a great choice of music. Riley characterised his dance very well, performing as if he were not controlling his body, but being taken along for the ride. His energetic routine comprising acrobatic elements, floorwork and isolations, showed off his toned physique and multi-disciplined training.

A pretty and peaceful routine, using Ansel Adams images, inspired Jessica Pearce’s performance. In productions when costumes and wardrobing can seem like an afterthought, it was refreshing to see her black and white dress utilised in creating the shapes and mood of her work. Pearce danced her unaffected choreography gracefully. The lighting needed tweaking to slightly brighten the projected images or darken the stage.

“Short + Sweet” director Adelina Larsson joined Nadia Cusimano in a “Short + Strange” improvisation, that, although lighthearted, seemed to confuse the audience, left wondering, “other than the colourful Canberra Centenary T-shirts, what was all that about?”

To conclude the show, Tanya Voges invited the audience to join her on stage and remember aspects of their childhood home, as she regurgitated snippets of memories that had been told to her by audience members in mini interviews conducted before the show. The dance element was secondary to the concept of immersive theatre, a risky style well handled by Voges, who utilised the stage and space well. The soundscape was incongruous with the theme of “retracing steps”.

The lack of soundproofing in the Courtyard Studio was distracting, as foyer and outside noise could be heard throughout.