Held at Bats Theatre as part of the NZ Fringe, Search Party opens to an attentive audience. The anticipation is only heightened by the scene on stage as we enter. Andre Busby is busy solving a seemingly never ending puzzle. 

The anticipation pays off as we see Jacob Reynolds enter the stage for Solar Drift, Choreographic direction is  by Miriam Eskildsen. He is accompanied by a cardboard aeroplane, which he tows as he laboriously traverses the stage. He is attached via strings to his back, and it is as though the plane is the puppeteer and he is the puppet. Without the plane for guidance, Reynolds unclips himself and falls instantly to the floor. The lights, by Brandon Ross, increase in intensity as a spacey sound scape composed by Tobyn Gregory fills the room. On stage Reynolds’ limbs are now uncontrollably flailing as he explores his newly discovered human body. He is a child set free, he spins and dives across the midnight sky, gaining confidence all the while. His movement is gangly but somehow so fluid. The child becomes more aware of his audience and I feel a sense of caring for this dancer. We are on this journey with him, from his plane traverse to the virtuosity and surety of his current movements. Reynolds sets the plane on its journey off the stage and we are left wondering what is next. 

The second work in this Triple Bill performance is titled, Tunnelling Wormholes, and we are instantly immersed in an entirely new world of movement and storytelling. Elani Austin-Tennant enters the stage. She is mysteriously dressed, a low sitting hat and hanging beads cover her eyes, while the rest is a cladding of Victorian inspired robes with a modern twist. I am instantly engaged with the subtleties of Austin-Tennant’s movement, and the high thrown legs come as a surprise when they do eventuate. There is a red mound which moves, eventually Austin-Tennanti makes contact with the unknown shape. I rget the sense here that this interaction is not for us, we have walked on something momentous. The lighting is much less focused in this work, and the audience performer separation is less significant. The red mound transforms from an ambiguous shape to a number of recognisable forms. I see a bird, a demon, and eventually a human. The two humans see each other for the first time. Sharvon Mortimer is not prepared for the stripping of her protective layer, and she strokes the air as though the cloth is still there. Austin-Tennant watches curiously and the music follows suit as their hands join to intertwine in a crescendo towards the sky. The intertwined hands continue their journey and become more erratic and fast paced. The interaction is playful, but with an undertone of deep understanding for each other. I feel like I am seeing a first time encounter that has gone really well – an instant friendship is born. The playful escapade continues and Austin-Tenant takes a seat in the audience while Mortimer dances for her. She moves with a certain attack and seriousness; this is what I can do. The fast paced arm movements paired with white Gigot style sleeves reminds me of a bird caught in a mating dance. The piece comes to a full circle finale as a new red shape enters the stage, wearing two hats. Tunnelling Wormholes is full of unexpected twists and turns, and as Mortimer pulls crimson fabric from her mouth and costume this moment is no exception. The two dancers become one by the end, in their final dance it is difficult to tell where one body starts and the other ends. Once again the choreographic direction is by Miriam Eskildsen, with choreographic collaboration by Elani Austin-Tennant, Sharvon Mortimer and Sydney Magnus. Music composition is by Elani Austin-Tennant, with costumes by April Haszard, rosettes by Indiana Crder-Dodd and production by Madison Cronin.

Digital Nomad with choreographic direction by Jacob Reynolds begins with as much mystery as where Tunnelling Wormholes left off. A pointing hand emerges from the wings for choreographic collaborator and performer, Andre Busby to follow, who up until now has been in one corner of the stage quietly figuring out his puzzle. A board holding a criss-crossed pattern is revealed from the back of the stage. We are treated to a captivating image, as Busby, clad in full red tracksuit, etches a chalk line across the board. Imagery is a definite strength across the three works. I quickly realize the pattern is in fact a maze, which the performer must solve – if he can. Busby showcases a high level of control in his movement. I see the theme of the work very clearly in his physicality, it is as though there is an external force acting on him. There are constant distractions and dilemma’s, it shifts between these so quickly. I think of the modern day human, our attention spans are getting shorter and shorter thanks to technology. There is a sense that Busby is continuing to attempt to solve the physical puzzle he started, through his movement. The pointing hand reappears from the wings, and this is enough to tip him over the edge. The space is covered in chalk, in a manic frenzy which switches between maze and stage floor. The mysterious hand continues to feed the fire with an ever flowing supply of fresh chalk. Busby is finally free to express himself, and he returns to the maze with a renewed sense of purpose as the lights flicker to black. Brandon Ross creates the music and had designed the lights for the programme. 

A sense of cohesion for the show as a whole across the three individual works was achieved well. Search Party is presented by Measured Frenzy Company from Tamaki Makaurau. The movement language is captivating and the images are very strong. Without the presence of another body on stage to aid in telling the story I am left wanting more explanation from Solar Drift and Tunnelling Wormholes. How did they get there and what are these two soloists really trying so desperately to find? My enjoyment of the show is not tainted by these questions, Search Party leaves me feeling satisfied and full of appreciation for dance. 

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