A bold, breathtaking, bracing new dance work

Download the programme for As It Stands here

As It Stands is a powerful, awe-inspiring new dance work from New Zealand dance visionary and recent Arts Laureate  Ross McCormack, and his company Muscle Mouth.

Influenced by the monumental creations of iconic American sculptor, Richard Serra, this immersive show places eight world class dancers in a majestic sculptural landscape. Made up of formidable steel-like monoliths that tower upwards from the floor, the setting imposes a striking contrast between the order of design and the chaos of human nature, in an electric performance space where hard structural lines and fragile sinuous movement meet.

Technically astonishing and visually arresting, As It Stands mixes impressive scale, lighting, and soundscapes with McCormack’s renowned choreography into a remarkable work that pushes the limits of virtuosic dance and design.

Ross McCormack talks with Kim Hill on RNZ National here
Read an interview with Ross McCormack in The New Zealand Herald here 

Watch the trailer here
The cast and crew visited Richard Serra's Te Tuhirangi Contour at Gibbs Farm. Watch the video here

AIS Michael SmithImages: Michael Smith

"...  marked by rich integration of design and dance, scenography and performance, with a sonically rich ambient soundscape by Jason Wright, lighting by Natasha James, stylish unisex costumes by Vicki Slow, and the outstanding performances of the dancers" – New Zealand Herald
Read the review here

"The choreography is silky, limbs flying and sliding seamlessly, a sense of liquidity breathes across the work. Phrases of group unison, overscored by rumbling bass, are enthralling." – Chloe Klein, Theatreview
Read the review here

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Choreographer/Director Ross McCormack 
Composer Jason Wright
Lighting Designer Natasha James
Dramaturg Melanie Hamilton
Dancer James Vu Anh Pham
Dancer Lauren Langlois
Dancer Tiana Lung
Dancer Toa Paranihi
Dancer Luke Hanna
Dancer Emily Adams
Dancer Jeremy Beck
Dancer Christina Guieb

Commissioned by
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Supported by
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McCormack's movement-making imagination seems limitless

— Theatreview