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Freedom, Jasmin Vardimon’s new work is a hard-hitting overload of scenarios, exploring what it is that creates freedom for the individual, ultimately posing the suggestion that this concept may only be possible in the imagination. Intriguing in concept, the actuality of this idea seemed to spill forth in a hazy, convoluted way, often muddying scenarios which had, at first, seemed clearer.

A promising beginning, Vardimon (in collaboration with Guy Bar-Amotz) created a set which resembled a forest, abstractly constructed using pipes and greenery. The atmosphere in itself was effective, and formed an interesting point of collision for incoming vignettes both adapting to and contrasting with the environment. Music blasts forth and permeates the set, energising the dancers with a popular mix from John Lennon to Led Zeppelin.

In her signature style, Vardimon’s movement style is virtuosic and powerful. Dancers toss themselves around the stage, and even in quieter moments strut with a sense of purpose. This movement style lends itself to duets that are mesmerizing in their physical and emotive gravity. In one instance, a couple pull toward one another and push one another away, a convincing display of freedom through passion. These explorations of freedom are tokens that there was some deeper choreographic exploration on the theme of freedom, though not evenly along all avenues.

Entertaining in small chunks, there were a few too many moments of repetitious uncertainty. In one episode, a girl comes on stage, playfully whispering, “I want to… tell you… a story… it’s about… ” Though this scene repeats itself constantly through the piece, it hardly develops, and the inefficiency of language (and thus a barrier to freedom?) is not strong enough to thoroughly convince the audience of the idea.

These vignettes continue, though demonstrating no further connectivity. Many that are revisited are seen through a darker shade, and antagonistic take on the initial idea. An effective form for a longer development, the length and depth of these explorations did not do the dancers justice. The scenarios became too many and too non-sensical, often self-defeating.

While exciting to see a performance where the dancers really moved, the overarching form disrupted the power in the work. Vardimon’s movement vocabulary remains exciting and vibrant, but in a structure so dissonant, one can’t help but leave a little disappointed.