Embrace dance in this rhythmic demonstration of strength and skill.
Should you see it?
Damaged Goods, produced by YouMeAnEverythingInBetween, offers 45 minutes of contemporary dance split in two sets, each very distinct from the other.
The first set begins even before entering the theatre space. At times graceful, at times violent, a man and woman are in an emotional game of push and pull. Dragging each other across the stage space, pushing apart only to embrace one another again, this piece was beautifully executed and will leave you marvelling at the strength of the performers.
The second set, equally as impressive, switches quite substantially in tone. It begins in light so dim you can barely make out the three figures crouched low. Sometimes in sync, sometimes in contrast, the figures dance to eerie banging noises. As the dance progresses, a beacon of light becomes a fourth dancer as the performers run towards and away from this new source of illumination.
Unlike what I’m used to, this show is highly interpretive, leaving the narrative up to my imagination. This made for a fascinating viewing experience, as I was transfixed not only by the dancing, but by the endless possibilities of what it could all mean.
But that’s just my opinion and I’d love to know what you think. Did you enjoy that the narrative was up for interpretation? Were you impressed by the ability of the dancers? Join the discussion and tell me what you think in the comments below!
Hey Robyn. I thank you for your critical review of Damaged Goods. For creating an informed decision. And for actually watching the entire show: a courtesy not given to us by a critic, Jamie Portman, from Capital City Critics who left after ten minutes of Damaged Goods and then had the audacity to proceed in writing an extremely scathing, four sentence review, that warns people about the show with the tag line “Damaged Goods: Why bother?”.
So thank you. Seriously.
If you enjoy contemporary dance you will thoroughly enjoyed these two pieces by Jocelyn Todd.
The first, like all pas de deux, inevitably puts male and female in relief. Moving beyond the expected contrasts in physicality Todd explores the psychological interlock, her couple evoking the near schizophrenic tug of war between need and control seemingly afflicting today’s younger generation to a greater degree than those before. With a fresh choreographic hand Todd does not allow either the upper hand for long, with each dancer applying both shared and unique tools in the confrontation. But it is her moments of still embrace that ultimately vest the struggle.
Todd’s second piece begins with a trio mired in subterranean lava – slow, hot and suffocating. Eventually a single source of radiance punctures the monotony and the trio responds with an apparently long dormant capacity for attention. Initial curiosity and trepidation give way to urgent desire as the three in turn resist, restrict each other and then compete for possession. The athleticism Todd applies as the pitch intensifies into a rugby match of intertwined flexing bodies has the visceral impact of a pillow fight leaving the viewer resisting the urge to jump on stage and join in. Todd’s invention is again in evidence as the sole small prop introduced to the stage becomes a powerful transformative influence, consuming and eventually being consumed by the players.
This young choreographer’s work is mature beyond her years and is a welcome counterpoint to the Fringe’s more cheeky fair. Congratulations to Todd and those who chose to include her work in the festival.