With clear intentions, Tabitha Dombrski and Björn Aslund dance SUBLIME INTERLUDES into life on the Dome stage at Bats Theatre. They state this: ‘ . . . inspired by the exploration of human fears and phobias, contrasted with an effort to forge connectedness and support amidst the feeling of being extremely disconnected and lost. It is an acknowledgement of the highs and lows we experience as humans. The breath between fear and bliss’. In this, their first partnership, they succeed, striking the balance between specificity and leaving space for interpretation. it is their first work created together.

The work bathes the eyes with a tumble of finely etched images and ripples of movement. This new artistic partnership is successful on many levels: their contrasting physiques and vocabulary complement each other; there is warmth, complicité,  and trust. They are well matched.

As the audience enters they are in grey sweatshirts and trackpants with white socks, exploring the space, ritualistically, with care and curiosity, glancing  out occasionally. 
Disrobing, except for the socks, to expose flesh.  Movement arrives with delicate hand gestures which eventually becomes full bodied undulations, seaweed like and willowy. It is a soft start, as they sit on an all- purpose black rectangle that is utilized as a simple, yet effective, set (by Jason Dombroski) through-out. 

The exposure of flesh is measured and slow, their bodies made raw and vulnerable. Serenity is shattered, bodies become fallen shapes, as phobias and fears writhe into existence. External forces cause their bodies to twitch and convulse with tension as they become each other’s demon, green eyed monster, shark in the water or overwhelming anxiety that arrives in the night. 

The black rectangle is turned on it’s side opening up a clever use of levels. Dombrowski on top crouched, Aslund, fearful, embryonic and tiny below.

There is conflict between the two but they are like aspects of the same being, battling itself, embodying both male and female. This section in green light is particularly powerful.

 At times there is whiplash energy. They try to dance away the trauma with a ‘showtime’ number to an absurdist soundtrack about sharks – the juxtaposition is curious, escapist, bold – comes off, just.

 Lighting advisor and designer Bekky Boyce manipulates light brilliantly, it is a bold presence in the work that teeters on the edge of overwhelming the bodies in space, but never quite spills over. Augmenting the emotional terrain the dancers navigate, is the sensitive soundscape from Liam Frizzell. Operator Noah Crooks ensures all elements are in synch with the choreography.

The work has great integrated beauty.

SUBLIME INTERLUDES remains polite as Dombrowski and Aslund dabble in uncouth, ‘felt’ movement that is not about technique but rather about the torrent that hijacks muscles when a tsunami of emotion takes over. Somatic versus an exploration of an external aesthetic. Both are fine and commited dancers but they have yet to unleash this potential. 

Relaxing into the performance more may take them into unmapped domains. 

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