Dave Drayton, Journalist

Beautiful One Day is confronting and strangely comforting.

"You don’t really get to see my cunt when I’m nude, I am unusual in the performing world in that I have a full bush; these days women don’t have full bushes, but I do – a bit of a lady veil."

"It’s become about what it really takes, and I mean really takes, for an indigenous community to not give up, because quite frankly, what so many of them have been put through time and again, basically through white governmental mishandling – revolting mishandling – it’s pretty horrific."

Ultimately these ghosts trap the production in a past beyond the audience and, aside from beautiful eulogies for land and loved ones, nothing much more dramatic than mild inconvenience of obligated hospitality occurs before us.

"So all through my sporting career I was saying that I wanted to join the circus."

"The similarities between different truths were really interesting, and I think for the actors it was really interesting for them to look at their own process."

The latter provides a spine-tingling re-entry from a bittersweet instrumental in Interlude.

Dialogue is minimal: a stage direction or command here, consent or congratulations offered from one to the other at the end of some feat of strength.

Marvel at meter, bop along to their pop and enjoy the realisation that subtle needn’t discount substance.

"One important notion is that the festival is a coming together of Sydneysiders and visitors, because of course it is a summer festival, we are the one and only true, I would say, visitor-inspired summer festival."

“In its nature, dance is and has always been a collaborative process,” Sydney Dance Company artistic director Rafael Bonachela tells Dave Drayton about Project Rameau.

"I feel that I’m at home whenever I’m looking at the Pacific... Whether I’m in California or somewhere on the East Coast here, I look out at that particular ocean and feel a sense of belonging."