An accepting eclectic audience at a Fringe makes an ideal sounding board to bounce weird and wonderful ideas in front of. Emerging choreographers are given the seal of approval to be able to vent their creativity in a safe haven of acceptance and be acknowledged by the public for possiblly unconventional bravery.

With a common intent and a commitment to continue dancing and creating, a collective of former graduates from recognized NZ institutions explore three new works.

In throwing caution to the wind, though, are they brave enough in embracing a daredevil Fringe philosophy?

The first piece , choreographed by Anna Flaherty, “Don’t You” could have been choreographically much bolder, giving the very qualified dancers more meat to sink their teeth into. Adorned in vintage clothes of pretty cream lace and other earthy toned colours, the performers meanderingly explore a series of questions with calm disjointed compassion: “How do we allow ourselves to consume others and not savour them? Can we recognise when we do so? A sensibility to these moments allows us to decide how we engage with every day.”

Too timid in places, over-thought overall, this work will take time to grow.

The second piece, a play on words, “Peace it ToGetHer,” by Alana Yee, injects an often fun and colourful burst of humour as she tells her life’s story. Threads of visual information are woven into a strange fabric of oddness. The song “Love is a battlefield” is sung full throttle by the dancers, and a long red carpet offers some significance along with other props from her past. Quite fragmented in places, one is often asking “What?”

The final piece however, “Things we didn’t say” choreographed by Sarah Knox, appears more self assured, possessing a successful authentic edge with a cohesive connection. A mature, carefully thought out message with attention to detail and emotion is conveyed. There is good communication between the work, the dancers and the audience. It holds your attention and some strong visuals previously seen in conventional theatre work wellhere,  translated onto a small contemporary stage.

Daring phrases with a strong impact are both written and spoken, along with a strong contemporary dancing physicality. Thought provoking.

After viewing the performance, one could see what mattered  was what they didn’t say.

Very clever.

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