Just as you can see imitations of designer labels in street stalls, so you can see imitations of upmarket choreography on offer at Resolution! This year, the name on the tag was “Wayne McGregor”. Brice Asnar’s Omnis – hyperarticulated bodies, hyperactive partnering, a vaguely sci-fi title, teeny-weeny trunks – was the latest of several pieces to wear the McGregor brand on its sleeve. Still, this is a well-made copy. The five dancers race nervily through snapshot scenes that start out looking like pale imitations but gradually gain depth and strength as Asnar’s spidery phrasing solidifies into motifs, and Kumiko Nakamura emerges as an almost human presence – someone with feelings as well as senses.
Fruit for Thought by Anjali Dance Company, a troupe of dancers with learning disabilities, has a lot of feeling, makes little sense, and is a bundle of fun. The piece is held together, just, by a potted plant which grows into a tree and bears plastic fruit. A bumpkin gardener bumbles through, oblivious to the rushes of activity the tree induces: repeated invasions by chop-socky action heroes, an orgy of juice-drinking, a fire-and-brimstone conductor, air-guitar to the theme from Betty Blue. Dramatically, it’s a bit all over the place; but if it were tidier it would be less of a romp.
Jew(ish), by Liat Rosenthal and Oliver Hymans, is Jewish-ish: a little diaspora of Jewish sounds and sights – klezmer, a unicorn, a travelling family, wide hats and long coats – that brim with ideas and emotions that could speak to anyone. The most gripping scene sees a puppet conjured from a couple’s baggage: an empty coat that takes on a haunting, spectral life of its own. The imagery is very strong throughout: bottled-up drinking scenes, ribbons that both decorate and bind the dancers’ arms, books lined up like mystical stepping-stones. A shame that the ending undermines this gravitas, as all seven dancers segue into a deadpan klezmer version of Thriller.