Freefall Theatre STILL POINT
Nexus Theatre Soul Notes
Divo Company 6 minutes before
Asylum seekers, poetry and ‘mutating bodies in a fading world' were the respective inspirations for the first edition of this final week of Resolution! The marathon dance festival arrived at its final lap with a programme blend of theatrical and abstract dance, mixing clarity of intent and impenetrable purpose in equal measure.
STILL POINT began with the Kafkaesque tableau of light bulbs dangling over five people in, on or by five chairs. The sound of typewriters morphed into disconnected voices, with words repeated over and over until sentences emerged about such things as incarceration without water. The partnering of performer and chair gave way to ever more frantic ‘travelator' running, going nowhere and falling with arms outstretched. Paper became the key to freedom as sheets were routinely scattered everywhere through comedy falls; or performers balanced precariously on a clutch of A4 squares. Gradually, four found the paperwork they needed, leaving just one woman, alone in her detention, fashioning a paper plane from the detritus left behind. The institutional frustrations of waiting for the right envelope to bring sanctuary were powerfully conveyed, but it took too long to bring the point - sharp though it was - to a conclusion. Kate Sagovsky's theatrical direction was impressive, and the movement was sufficient to carry the narrative but with no dance content to remember.
The link to a voiceover of the choreographer's own poetry provided a surprisingly effective opening to Soul Notes and Siân Hopkins developed unusual and imaginative movement, especially in an edgy solo for Naomi Hibberd and in the raw, aggression of Nicholas Bodych's dancing. It was the most satisfying work in the programme.
The concluding work, by Olga Masleinnikova, was enigmatically performed by an all-female cast of three, but I had no inkling of what had happened 6 minutes before or in any of the fifteen minutes that made up this work. Yet another own goal for inaccessibility but at least this was occasionally pleasing and mercifully brief.
Graham Watts
The aptly named Freefall Theatre opened an evening of dark works with their ironically named physical theatre piece STILL POINT. Free-falling all over the stage with a strength and ferocity bordering on self-harm, Kate Sagovsky's work is a highly physical representation of the brutality of the immigration system on those seeking asylum from war torn countries. Musically interweaving interviews with individuals seeking sanctuary within the UK, the work builds from subtle grief to exhausting desperation. At over thirty minutes long, Sagovsky's choreography begins to over-stretch its movement material but credit has to be given to the performers who commit to the work with rare focus and determination.
Equally impressive performances were given by Nexus Dance's ensemble of five, in Sian Hopkins' creation Soul Notes. Inspired by and performed to a collection of the choreographer's own poetry, Hopkins' writing skills are as good as her choreography. Like the cast of a cult teen film, the youthful group explore the extremes of emotions with skill and insight far beyond their years. Tender solos seamlessly move into animalistic group sequences, reminiscent of previous Resolution! choreographer, the internationally acclaimed Hofesh Schechter. Simultaneously passionate and effortless, a repeat performance of Schechter's success is not beyond this talented group's reach.
Where many Resolution! choreographers can be accused of overreaching within their forty minute time limit, choreographer Olga Masleinnikova could be more ambitious with the concept and direction for her work 6 minutes before performed by Divo Company. Short but not so sweet, this sci-fi work uses the idea of mutation to create its disturbing, disjointed movement material. Angular shapes and cringe-inducing toe curls accompanied by the eerie soundtrack are successfully compelling and unnerving yet the work conveys no message to its curious and ultimately, disconcerted audience.
Jennifer Teale