Bridget Lappin began with her solo; a chair, table and tape recorder inhabited the space. The tape provided an eerie accompaniment, a pre-recorded speech of a woman detailing her struggle with identity. The words were physicalised by Bridget, initially with a rather aggressive sequence of gestures she performed in the chair. The frantic pulling and slapping, interrupted occasionally by suspended reaches, suggested a difficult relationship with herself that was played out in the highs and lows of the sequences that followed. The piece was endearing in its vulnerability and whilst the narrative was dislocated, Bridget’s vivid presence and ability to convey emotion in the subtlest of movements, ensured it always remained engaging.
Thomas Page Dances explored the enigmatic definition of human nature. The loose white clothing combined with the building, electronic accompaniment and suspicious glares shot between dancers, gave the piece a tense, almost dystopian feel. Intricate duets, that flitted between aggressive throws and caring supports, reflected the contradictory elements of human nature beautifully. Definitions of the human condition were voiced by Annika Kordes throughout, however her voice was often swallowed up by the intense music. A restless piece that refused to let the audience settle, linking nicely to its central question; can we ever truly find peace?
Jay Yule’s piece came with a beautifully illustrated zine containing essays inspired by female genitalia. The piece itself began abstractly, with the two dancers consuming vagina-esque fruit in little boxes of light accompanied by slurping sounds. They then put on absurdly frilly dresses and stood, swaying like little girls, in silence. Humorous awkwardness emanated from the two figures, and giggles erupted sporadically from the audience as a result. The pair then began creating noises, playfully mirroring each other and coming up with obscene ways to travel around the space. Something as simple as the change of their pitch, accompanied by ridiculous body shaping, was subtly hilarious and seemed a caricature of femininity. Wonderfully witty and unexpected; an interesting consideration of the performativity of gender and female orgasm.