The six dancers (Marni Green, Robert Tinning, Georgia Van Gils, Tyrel Dulvarie, Rachel Coulson and Hugo Poulet) are an exceptional ensemble. Lake choreographs them with remarkable precision, like cogs in a complex machine, each working independently while relying on the others to keep the whole system moving. The choreography repeatedly shifts between synchronised group sequences, duets and moments of individual expression, with the group breaking apart and reforming throughout. They are constantly shifting and rearranging themselves across the stage. Their distinct hairstyles and physical qualities reinforce their separate identities, even as their bodies are absorbed into the larger collective and create eye-catching formations.
They are dressed in a muted palette of grey, khaki and black, with loose-fitting trousers paired with tank tops and cropped, strappy garments. Designed by Alpha60, the costumes evokes a sense of cohesion without imposing a rigid uniformity, while their soft, unstructured silhouettes allow the performer's physicality to remain front and centre.
The 30-minute first act is followed by a 20-minute interval, during which the stage is reset for a second iteration that introduces a series of changes. In the first act, the curtains set up a contained environment, with dancers disappearing behind them when they moved out of sight. Now, the boundaries have been opened up, revealing the performance space as something expansive and fluid and allowing us to see the dancers when they are in the wings. A rocky backdrop stretches across the rear, disrupting our expectations of the theatrical space. Their costumes have also undergone a striking change, replaced by a vivid palette of orange, yellow, and reds. Where their original clothing was reserved and grounded, they are now more expressive and vibrant.
Where the opening half is tightly controlled by the interplay of light, music, and movement, the latter feels looser and less restrained. The dancers are lively and aware of one another, responding to each other with greater connection. At one point, they begin speaking as part of their interactions. Tension and aggression remain, but these feel heightened and theatrical rather than confrontational.
Robin Fox's composition and sound design and Bosco Shaw's lighting design are central to this transition. In the beginning, the sound and lighting establish a sense of control, with the dancers appearing to operate within a carefully calibrated system. They then help loosen that structure, contributing to a world that has become more dynamic and unpredictable. The shift is particularly effective because the changes are not simply cosmetic. The same motifs take on an entirely different quality when they are placed among a new visual and sonic environment.
What makes VISTA so compelling is the way it alters not only what we see, but how we watch. After the first act, we carry an awareness of the dancers, their movements and their relationships into the second, making every repetition feel like a discovery instead of a replay. A gesture that initially seemed mechanical can suddenly appear playful; an instant of conflict can acquire a unique emotional charge. In asking us to look again, Lake exposes the instability of perception, while creating a work that becomes richer, stranger and more rewarding the longer we spend inside it.
SHOW DETAILS
Venue: Malthouse Theatre, 113 Sturt St, Southbank
Season: until 1 Aug | Tues - Sat 7:30pm
Duration: 80 mins including 20 mins interval
Tickets: $35 - $85
Bookings: Malthouse Theatre
Image credit: Pippa Samaya
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