AUSTI. Dance and Physical Theatre

Published in Print September 2025 order now!

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By Danielle Brown

At the Illawarra Performing Arts Centre from May 30-31, the stage was alive with contemporary movement, textured storytelling, and the deep pulse of artistic collaboration. MERRIGONG Theatre Company and AUSTI. Dance and Physical Theatre proudly presented Nothing More., a double-bill world premiere featuring new works by acclaimed choreographers Evie Leah and Daniel Navarro Lorenzo. Anchored in themes of identity, connection, and memory, the performance was a powerful testament to AUSTI.’s vision—bridging the space between dance training and a professional career.

Founded in 2011 under the direction of Michelle Maxwell, AUSTI. has become a launching pad for emerging dance artists across Australia and the Pacific. With a mission to provide accessible, high-level performance opportunities, AUSTI. continues to nurture versatility, artistry, and resilience. Their 2025 season, Nothing More., is no exception.

The evening opened with Carry-On, a captivating exploration of the rituals and relics we use to tether ourselves to identity. Choreographer Evie Leah, known for her emotionally intelligent works for Opera Australia and SONY, drew out a layered piece of fragmentary gestures and interdependent movement. Evie’s work reflects the fragmented versions of ourselves that we carry—those small, curated behaviours and touchstones of self that both anchor and confine us.

The first piece was really dynamic, twisting and twirling through space with a compelling force. The dancers were strong and deeply engaged—lots of holding, moving, dragging off each other, twisting and turning. There was beautiful floor work, standout group formations, and lovely extensions.

Third-year company member Tara Gilmour offered insight into the process: “Evie works very much on tasking, and that really challenged me in a good way. It’s so rewarding to work in a company where the process is valued as much as the outcome.”

Sophie Richards reflected on the trust required for the physical closeness in Carry-On: “We don’t start with full contact. It begins small—like using ropes in between our fingers in Penny Chivas’ workshops to build that sense of connection without touch. Eventually, the trust grows.”

Backshore, choreographed by Barcelona-born artist Daniel Navarro Lorenzo, was a stark and stirring contrast to the first work. Set against the cliffs of Coalcliff, this piece was as poetic as it was physical—an homage to memory, sisterhood, and the quiet, grounded power of place.

This was a fast-paced attack of movement, yet with a rhythm that was gentle and embedded with power. Repetition and canon sequences made the movement both hypnotic and impactful. The energy between the dancers was sublime—reminiscent of sibling relationships, the tug, the love, the bond.

The trio—Gilmour, Richards, and Jenaya Gladman—held the evening with maturity and strength. Gilmour admitted, “The first couple of runs, I didn’t make it through. That last section is jumping, running—it’s exhausting. But pacing is key. I meditate before every show to calm my nerves and balance my energy.”

Gladman echoed this: “I used to want to give 100% every moment, but these works taught me to modulate my energy—give where it’s needed, reserve when possible. That way the story flows more powerfully.”

AUSTI.’s dancers train three times a week, with sessions that span four to five hours and include technique, strength training, improvisation, and rehearsal. When choreographers are engaged, they typically have twelve sessions to create their works—an effective format that provides time for depth, embodiment, and polish.

Gilmour explained, “AUSTI. runs like a professional company. You’re not just learning technique. You’re learning improvisation, characterisation, and what it means to truly work in an ensemble.”

This season also saw the dancers diving into contact improvisation with Penny Chivas, a specialist in the form. Sophie explained: “Contact doesn’t always have to be lifting. Even just being in each other’s presence can be a form of contact. What makes it work is sharing the weight and the energy—moving together.”

Under Artistic Director Michelle Maxwell’s guidance, AUSTI. has grown into a company known for its progressive and inclusive philosophy. Michelle’s commitment to supporting diverse bodies, ideas, and training backgrounds continues to shape a distinctive voice in the Australian dance landscape.

She is supported by Assistant Producer Sarah Goroch, a former General Manager of Ausdance NSW. Lighting designer Montanna Conyngham, a recent graduate from the University of Wollongong, brought visual poetry to the performance with subtle and striking atmospheres.

Applications for AUSTI.’s 2026 intake open 1 June, with auditions held 30 August. Their Youth Program’s second intake for 2025 also opens shortly, with submissions due 13 July.

Every season with AUSTI. offers something new. As Gilmour—who dreams of joining a European contemporary company—put it: “Every season has taught me something different. It’s a gift to grow in a place that honours both process and performance.”

Nothing More. may be the title, but the possibilities ahead for AUSTI. and its dancers feel limitless.AUSTI.

Contact & Auditions
Illawarra Moving Arts Hub, 270 Lawrence Hargrave Drive, Coalcliff NSW
General Enquiries: info@austitheatre.com.au
Auditions & Youth Programs: info@austitheatre.com.au / austiyouth@gmail.com
www.austitheatre.com.au