Cyclic life, banana DNA, and dance without symbols: “Boundless” 30 July – 2 August


Getting it ‘just so’ in the studio. Costumes still to come!

Dancers and choreographers have been working hard — some since January —  to develop Boundless.  Have you got your tickets?  Book now at Canberra Ticketing. The three works in Boundless have been created in collaboration with this year’s Quantum Leap ensemble, including dancers who featured in last year’s critically acclaimed performances of Hit the floor Together. 

Eight of this year’s dancers have just returned from a tour to Bangkok — where they performed one of the pieces, Cinders, to two packed houses at Chulalonkon University — and then the Commonwealth Youth Dance Festival in Glasgow.Four dancers have come on exchange from Bangkok Dance, completing a fantastic exchange supported by the Australia Thailand Institute.

"Cinders" on stage in Bangkok

“Cinders” on stage in Bangkok

Another of the pieces, Samsara, features a group of over-55 dancers from Canberra Dance Theatre’s Gold ensemble, bringing a mature voice to a piece reflecting on the cycle of life.

And Danielle Micich’s The bigger picture features a banana. Because we share 50% of our DNA with a banana!

Quantum Leap is QL2 Dance’s auditioned, selective youth dance ensemble, for dancers aged 15-26, making passionate contemporary dance for all audiences. They work together to create sophisticated productions that wrestle with big ideas. And you can see them at Canberra Playhouse!

Tickets available now online, or in person at Canberra Theatre.

Dates 30 July– 2 August 2014
Times Wed – Sat at 7pm, + Sat matinee at 2pm
Venue Canberra Playhouse, London Circuit, Civic
Tickets Single $32, Under 27 $26,  Concession $20, + group discounts
Booking Book online at or 02 6275 2700

+ booking fees at Canberra Ticketing      


This is what people took away from QL2’s 2013 shows:

“Many memorable moments in a superbly realised work which would be a source of pride for many professional dance companies” Bill Stephens

“… A brave undertaking and well executed with enthusiasm and excitement that was clear to see.” Samara Purnell, City News

“…A powerful and engaging work of contemporary dance” Vanessa Wright, BMA


Artistic Director Ruth Osborne says “All three works take on broad and abstract ideas – with boundless possibilities. They range from fun and a bit silly, to very abstract and intense.”

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Dramaturg Paschal Berry, whose role was to “provoke the choreographers to take the theme in new directions”, says “being boundless is an abstract idea, something that belongs to personal ideology or utopic visions. There is always a collision between dreams of being limitless and the constraints of imposed structures within the real world. The triple bill uses the idea of being boundless for choreographic development, but splinters off to three unique interpretations and dance processes.”

Choreographer James Bachelor says of his piece, Cinders, “It explores the idea that we see the world through symbols and language. It aims to look beyond symbolic language, to other ways of describing space and time.”

Dean Cross tackles the cyclic nature of life in Samsara. Dean has worked with a group of intergenerational dancers poised at opposite ends of the life cycle – from the promising flowering of youthful potential to the harnessed perspective of experience and of lived lives.

If the other two ideas are in the philosophical realm, Danielle Micich looks at the immediacy of the present. She says “The cast were asked the question. What makes up the world we live in today? Their answers included; space, languages, poverty, skyscrapers, oceans, teachers, light, internet, photosynthesis, religion, animals, politics, leaders, mathematics, atoms, relationships. And we share 50% of our DNA with a banana.”


Artistic Director Ruth Osborne is nationally respected for her teaching and choreographic work, having founded and run the Contemporary Dance Centre in WA for 23 years, taught at the Western Australian Academy of the Performing Arts since it’s inception, been Artistic Director of Perth-based STEPS, and served on many boards including the West Australian Ballet. She has choreographed nationally and internationally for stage, film, television and major events, has been artistic director of many collaborative choreographic projects for young people, and was Artistic Director of the 2012 and 2013 Australian Dance Awards.

Dean Cross began his physical training in gymnastics. He moved into dance in 2000 with Quantum Leap’s Industrial Hardware. Dean has performed nationally and internationally with companies such as Lucy Guerin Inc, Shaun Parker and Company, Theatre of Image, Buzz Dance Theatre, Legs on the Wall and Opera Australia. He has also worked with Independent Artist, Anton, in a Critical Path research residency, as well as being a founding member of Autumnal. Accompanying his performance career, Dean has worked choreographically at QL2 Dance, creating several works in junior projects.

James Batchelor is a performer, choreographer and filmmaker. An ex-Quantum Leaper, he graduated from the VCA and has worked with choreographers such as Sue Healey (Inevitable Scenarios), Antony Hamilton (Black Project 2) and Stephanie Lake (Aorta). This year he has developed a new performance installation work (Ersatz) across residencies in France, United Kingdom, Thailand and Australia; and presented it at the Canberra Museum and Gallery, Paragon Cineplex (Bangkok), Blindside Gallery (Melbourne) and Revolt Artspace (Melbourne). He has been selected as the Dancehouse Performance Housemate for 2014 in which he will be developing a new interactive performance installation (Island).

Danielle Micich is a highly awarded and established choreographer, director and performer. She performed with Perth’s Buzz Dance Theatre for five years, toured internationally with SQUINT, and was the Artistic Director of STEPS for four years. In 2011 she performed in Wish with Humphrey Bower, choreographed Plan B for Buzz Dance Theatre and Into The Shimmer Heat for Nova Ensemble. She choreographed Barking Gecko’s Driving Into Walls. For Danielle, it is not about audiences ‘understanding the choreography’ but about feeling a strong emotional response to the narrative or thematic content of the work.