Being a Midsumma premiere event, there was a lot of hope and expectation placed on Nexus – a collection of queer dance works from 5 dance companies. The diverse collection of strong dance works curated by Gerard Veltre did not disappoint, though some hit the mark more than others.

Exquisitely beautiful and haunting, Jacob Boeheme’s Lu’arn was the first work to open the night. A lone man wondering in the darkness is captivated by a floating feather. Like a guide it leads him to a sacred water way inhabited by 3 black swans. Incorporating gorgeous puppetry, costumes and choreography, this innovative work told a stunningly visual spiritual journey that connects the soul to the land.

Up next was Tony Lap’s Lumiere. A double bass plays every haunting and disturbing beat and note. Towards the end it almost got a little irritating, but it did fit the very organic work. The work seemed to convey the struggle of life, and the inevitable freedom that comes when it is over. Tony Yaps very unique style of moving was quite beautiful to watch, but I still felt the work was too long in parts and that the accompanying music grated on the audience too much.

Stone In Facet was the third work in the show. I have to admit that this work was probably my least favourite. Two women move and interact through movement, though the bulk of the action focuses on acrobatic rope work. I’ve seen a lot of circus arts, and circus performance, and the rope work in this work wasn’t the strongest. It was a major distraction when it should have been a highlight. I would have much preferred if there was no rope, and the focus was more directed to the relationship of the dancers and the composition of their movement.

Don’t Touch (which I call the batchtub piece) was easily the most accessible. First off it was stunningly visual – the visuals burned into your minds. Two dancers move erotically and fiercely around and within a bathtub that is both an erotic location and dangerous boxing ring. It featured two hot twinks in some gorgeous precision choreography in a bathtub.But it just as easily have been two girls or a boy and a girl. There was something that translated universally about it. I think it could have gone further, and dare I say it will.

Completing the nights proceedings was Pasodoble. Flamenco mashed with organic movement, and a very lose narrative told volumes about the relationship between two men. The sounds, rythems and beats were infectious, and the emotional quality of the performances were outstanding. But again, some awkward lulls and a performance that at times felt long in bits, took away from the power of the better bits. It was however, quite accessible and quite captivating most of the time.

Everyone I spoke to after the show, shared a different opinion about the show as a whole and which their favourites were.

I’ll be the first to admit that I’m not a dance aficionado, but I do have an appreciation of dance as an expressive medium. For me personally, I found something moving and powerful about each piece, but no one work really stood out as totally exceptional. If I was forced to name one it would be Don’t Touch (the bathtub piece). Jacob Boeheme’s Lu’arn would be a close second. That’s just me, and I’m very picky about contemporary dance.

The show’s producers and curator Gerard Veltre, need to be commended for undertaking such an ambitious show and delivering such strong and mature work. Nexus is the sort of show that you have to see for yourself, and with tickets at just $30 to see all 5 works, you’d be crazy not to.

Nexus plays at Gasworks from 3rd to 5th February 2010, at 8:30pm, as a premiere event of the Midsumma Festival.