The title refers to the words of Kazuo Ohno, which choreographer Janine Parks uses to introduce her showpiece SHIFT in the programme:  There are always hidden words, those of the heart, and if you know how to accept them, you will discover the pain and joy which is impossible to express with words.  You will reach the realm of poetry which only the body can express.’

Fuzzy Reception comprises three dance routines and a film, although ‘routine’ doesn’t seem that appropriate to describe the avant-garde antics of the seven young woman who command the stage.  Suffice to say, the levels of skill and imagination are high within this troupe.  While I had some interesting ideas in the quest to interpret each movement’s meaning along the way, it’s simply impressive to watch physically without even trying to understand it. 

The first piece, ‘Threads’ – choreographed by Georgie Goater and Tracey Purcell and danced by Purcell, Colette Arnold and Lucy Miles – has a trio of characters each doing their curious own thing, alone and interactively in varied combinations. 

Next we have Parks’ SHIFT, performed by Goater, Annabel Harrison and Rosey Feltham.  Inspired by Butoh and Japanese horror films it’s a dark sojourn within an intriguing sort of twisted inner-bodily mental creature world. 

Finally, Colette Arnold’s DANCE-mart, with dancers Purcell, Miles and Mandy Leckie, is the most lighthearted and theatrical piece, in which the performers verbally share (true life?) experiences they’ve had working in retail whilst painting a quirky and comical dance-picture of department store ‘life’.

It’s uncommon to review a show’s programme notes but I couldn’t help noticing it contains no credit to the makers of the entertaining and brilliantly shot film that played between the 2nd and 3rd routines.  Also, credit to the sound designer(s) and operator?  I assume each of the choreographers designed their own soundtracks, which were excellent, well structured and interesting, driving the energy but never upstaging the visual performances.  Omission no. 3: costume design.  The first & second pieces in particular had the dancers deliciously clad in fashionable and original looking garments.  The dress that became a sack to hide in at the start of SHIFT would be my favourite. 

I don’t know if Back-Lit Productions has any mandate regarding being solely female.  Either way what they’re doing is good and Fuzzy Reception is certainly not lacking for want of any non-female input.  There is a strong sense of solidarity among the seven dancers.  You can see they trust each other and feed off one-another’s energies with compounding effect.  Fuzzy Reception lives!

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