From clever and quirky to athletic to funky and back again, aided by great music choices, this programme curated by Mary-Jane O-Reilly is certainly a delightful night out to remember. I had been anticipating a breath of fresh air, and I wasn’t disappointed.

The pointedly funny dialogue delivered in separate spotlights is a humorous way to introduce the theme of identity and ego in Blame it on someone who cares. Expressive Dancer/ choreographers Hannah May and Heidi Vit have definitely found their voice and have fantastic stage presence. The ideas are clearly and distinctly developed. I see a person split in two: the self talk versus the real identity; the two colliding, struggling, vying and jostling for position in the funky middle section of the dance; trying to oust each other in a series of confrontations until united in a seamless display of synchronicity.

Humour is also a feature of Let me dance for you by GHOST. We are taken through a journey of a night out, and many great dance moments through clubs and cellphone calls, ablutions and the hilarious postulating in the bathroom mirror, culminating in the late night feed. Contemporary motifs blended with funk and hip hop give this innovative piece an urban feel and the clever use of gesture and making of shapes during the group interaction over ‘food’ causes uproarious laughter. However there is no clowning about when it comes to technique. The talent and focus of John Purcell-Puleitu, Jeremiah Faitala and Leroy Lakamu is obvious, and their attention to detail commendable.

Don’t forget the buttons by 1st year Unitec student Virginia Kennard and dancers is highly original, wacky and wonderful. Unpredictable and edgy, this work is saturated in motifs that are jolty, jerky and intriguing. It is difficult at times to divide attention between the series of ‘button art’ projections and the dancing itself, but when able to multi task I enjoyed the links created.  

In Pole Approachable Greer Howat shows pole dancing in a new light as an art form. The grace and ease with which the manoeuvres are done around the single pole centre stage belie the difficulty of this genre that is emerging slowly into the mainstream. Athleticism and core strength is highly evident. Sensual, a little naughty, but completely devoid of sleaze, this is the most theatrical of the Fresh Cut pieces in terms of costume. The red Moulin Rouge style dress, the French maids and black bra and long straight skirt/pant costumes add to the portrayal of the different aspects of women’s sexuality and expression. Notably, Howat is also the composer of the music ‘Soundscore’ for her choreography.

TMC Dance Crew made up by brothers Andrew and Richie Cesan and friends conclude the show with a slick and snappy hip hop performance that displays their superior technical skill. Wowing us with acrobatics and varied rhythm and syncopation their group precision is second to none. It is also refreshing to see variance in levels and facings, and also partner work, adding interest to the characteristic unison feature of this dance genre. Like Yeah is a collaborative effort with a funky music mix, including a political edge which makes the audience laugh as the chant for candidate Obama accompanies the lifting of his ‘lookalike’ in the last segment of the dance.

There is so much more that could be said, but go and see this show for yourself. The originality, youthful energy and contemporary edge makes these works not only fresh but a cut above: deliciously digestible to a larger audience base and, in particular, the new younger generation of dance viewers.

Tell your friends, take your teens, keep your eyes peeled and your ear to the ground…there are new kids in town.
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