3 Kiwis and a Spic presented four physical and dramatic works at the Mary Hopewell Theatre as part of the Dunedin Fringe Festival.

The first of these works was Exilio choreographed by Mariana Rinaldi and danced by Katie Burton, Lucy Miles and Mariana Rinaldi. The three dancers represented the different aspects of a character in the search for human identity. The work built up slowly taking the audience on a journey of desperation and extreme physicality.  The earthbound style of the choreography suited the concept very well. 

Simple movement motifs were developed into complex sequences to demonstrate the increasing and growing frustration of the character.  The strength required by the dancers to hold the weight and continual attack of the other two dancers was compelling viewing. This was not just a show of virtuosic strength but a climatic point in what was quite a theatrical work.  The audience was left gasping.

Bones began in darkness and this darkness extended much too long into the work. If dancers are dancing, they need to be seen. Perhaps this was a technical fault due to the lack of lighting equipment at the Mary Hopewell Theatre, but it spoilt the impact of the opening stage of the work.  Paul Young choreographed this work in which he danced with Julia Milsom.

The intent was to avoid a narrative and instead  highlight the communicative values held within the art of the choreography.  However a narrative appeared obvious despite the choreographic intent.  Although the dancers didn’t appear comfortable with each other at the beginning, the work developed and there were some nice moments of contact between them.

Julia Milsom and Paul Young performed the next work, Locked.  This dance was choreographed by Julia Milsom and explored the balancing act in relationships.  There were some lasting images created in this work as the couple examined role changes through mainly slow and sustained movement.

A highlight of this work was when the female dancer managed to take the weight of the male dancer and move relatively effortlessly to different levels with the male dancer adjusting his position as she moved to standing. Both dancers displayed considerable strength and control throughout the piece.

Scuttle was choreographed by Katie Burton and danced by Katie, Geoff Gilson and Mariana Rinaldi. The audience were invited to watch Scuttle as though peering into a terrarium (miniature landscape) and the dancers were dressed with the hoods up on their jackets adding to the idea of little creatures scuttling about. 

This was another work that started in complete darkness.  The dance contained fast frantic movement followed by moments of stillness. Added to this was the choreographic device of repetition and this combined to make a very believable miniature landscape.

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