The following works are available for remount. Click on promotional video to view extracts.
'....Lina Limosani's The Penny Drops is a hilarious take on a marriage guidance session that descends into open warfare. The performers mime very convincingly to Sasha Budimski's entertaining score. Limosani is clearly one to watch.'
MARGARET TONKIN, DANCE AUSTRALIA
'....The most accomplished work of the night is Lina Limosani's The Penny Drops, a tragic-comedy about an unsuccessful visit to a marriage counsellor. Carefully detailed and strongly performed, it uses music from pop to opera for serious and humorous effect.' ALAN BRISSENDEN, THE ADELAIDE REVIEW
'....Lina Limosani's The Penny Drops is a bit of a romp, with an opera-singing analyst, a tattered union, a quartet of telly tubbies and a hearty laugh or two'
PETER BURDON, THE ADELAIDE ADVERTISER
'....Lina Limosani's BlindSpot was possibly the best developed work of the night. Lmosani's use of a venetian blind like an Aldis Lamp, to alternatively reveal and hide a third dancer, is liquidly build into the movement. Her tightly coiled dance movements from the main duo by Limosani with Larissa McGowan are arresting.'
TIM LLOYD, THE ADELAIDE ADVERTISER
'....Lina Limosani's BlindSpot uses one man and two women, but one and sometimes two were seen behind a venetian blind suspended mid-stage, or two held statuesque positions while the other moved. Inventive action and a consistently developing structure in this work makes Limosani a choreographer to watch out for.'
ALAN BRISSENDEN, DANCE AUSTRALIA
'....XX-hume: all kinds of things may one day take our place’, a humorously sinister and sculptural work'
KAREN VAN ULZEN, DANCE AUSTRALIA
'....Xx-hume was one fluid stream of movement with lots of unusual details and quirky motifs. The movement unfolds so naturally; nothing seems forced despite the originality of the movement.'
JESSICA THOMSON, DANCE AUSTRALIA
'....In XX-Hume by Lina Limosani, the dancers wear hooded leotards with mesh covering their faces, creating a sinister urban mood. They slouch low into their forward curve-slung pelvises, with ribcages pulsating and hands gesturing in movement reminiscent of crumping. As the piece builds to a climax of athletic, acrobatic action, the dancers put their knee pads to good use in aerial spins, landing on one knee, Garry Steward style.'
CHLOE SMETHURST, THE AGE
'...The Phantasm is a fast- paced ride through all things zombie. Thirteen dancers nail the thwack and whack choreography, ricocheting around with a tight precision only achieved by young, fearless bodies.'
STEPHANIE GLICKMAN, THE HEARALD SUN
'...Limosani's all-girl piece made exuberant use of a vocabulary based on schlock horror - all galvanized twitchings, unmasking, Mandrake the Magician-style conjurings and zombie slumps. There were elements of Butoh and even classical ballet (at one point, there was a moment that evoked an undead version of the famous La Bavadere corps de ballet line). A special mention should be made of the costumes by Ruby Langton-Batty, - brilliantly realized concoctions with abbreviated crinolines that gestured at Victorian melodrama, and chiffon cunningly bunched along the arms to look like skeleton bones.'
ROSE MULREADY, DANCE AUSTRALIA
God Save The Queen...
The bitter struggle for power, the rightful heir to the throne and a tragic ending all come together in this interpretation of the Mary Queen of Scots and Queen Elizabeth 1 dramatic tale.
'.... Lina Limosani’s God Save The Queen delves into the past for inspiration, re-imagining the battle for power between Queen Elizabeth I and Mary Queen of Scots. Darkly comic and extremely violent, Limosani pairs movement with vocalisation to heighten the drama. Dressed in period garb, the all-female cast emit guttural roars, tittering laughteAr and a smattering of words as they play out struggles between the queens themselves, and their manipulative courtiers. Karate chops and head slams are accompanied by cartoonish sound effects, but Limosani keeps the chaos on a short leash, tightly choreographing each encounter.' CHLOE SMETHURST, DANCE AUSTRALIA
Cast: Minimum 5 dancers
Music: Selected pre-established artists
Length: 20 minutes. Possibility for extension
Cast: Minimum 6 dancers
Length: Can be re-worked for anywhere between 10 - 30 minutes
Winner of the Australian Institute of Classical Dance 2015 Dance Creation Competition - Adelaide Preliminary Finals . The work was showcased at the Malthouse Theatre, and as a result, Lina was awarded a commission with the Australian Ballet for their