TRIPLE BILL involves three highly physical works created by Raewyn Hill and each piece shares a common connection with community created out of a shared experience.

FUGUE is a powerful work set to “Bolero” Maurice Ravel’s celebrated composition of 1928 and premiered at the State Theatre in Melbourne for the Australia Ballet’s 50th anniversary celebrations.

With a cast of 5 dancers, FUGUE is a powerful and sinuous work, capturing the strength of Maurice Ravel’s mesmerizing score. Combining ideas from the Dancing Plague of 1518 in Strasbourg and the structure of a Spanish Bullfight, FUGUE is choreographed to showcase the skills of the talented Dancenorth ensemble.

BLACK CROWS explores the sense of community that is created out of sharing a profound experience. Specifically, looking at the impact of war on couples and the community developed between soldiers in battle, between loved ones left at home, and the potentially uneasy reintegration of a returning soldier into family life.  The work presents contrasting images of beauty with pain, love with longing and is set to a new score by Spanish composer, Micka Luna.

The third work A FALL FROM GRACE draws inspiration from Lucas Cranach’s painting, The Three Graces, and examines the many faces of women. The evocative work requires a mastery of performance from the single female artist, negotiating the fine balance between the masculine and feminine.

Under Hill’s Directorship, Dancenorth continues to lead the way in Australian dance, with the company being a model for making international quality art in a regional setting.


“Powerful, dark and moving, Black Crows was filled with anticipation, dread, fear and the hostility of war.” Anna Chisholm, Townsville Bulletin.

“She [Alice Hinde] was born to make Cranach’s Three Graces come to life on the stage, in Hill’s interpretation of the Louvre’s artwork.” Anna Chisholm, Townsville Bulletin.

“The tight unison of collective movement, accompanied with individual expression and physical prowess, showcased the dedication and passion of the dancers as a whole and individually to the piece.” Jeanette Hutchinson, ArtsGaze