One thing which many people from other artforms tend to overlook is exactly how much time and hard work it takes to create a work of dance - which is important to remember when comparing a finished piece to its trailer or rehearsal video. That's especially true for Resolution!, a season of creativity and creative twists and turns for new choreographers, so that the finished product is rarely what one expects.

We all love a good choreographed fight scene, don't we? How many of you are Buffy fans? MonixArts's work 'Nu.V.Na' (Nurture vs Nature) ostensibly explored dancers reacting to conflict, but in reality drew on Monica Nicolaides's judo and jiu-jitsu training by performing a full lexicon of martial arts moves. If there had been time, it would have been wonderful if Nicolaides's dancers could have spent some time inside a dojo: while the concept was admirable and interesting, the dancers lacked the technique, attack and conviction necessary to perform these moves as required.

That was only one aspect of 'Nu.V.Na', however: the dancers were far more comfortable and confident with the rest of Nicolaides's choreography, which better demonstrated her ability as an assured and talented choreographer.

And in the meantime, it was good to see that the costumes from Riccardo Buscarini's 'Athletes' were being put to good use! [Note: they were different costumes, just remarkably similar].


Ryota Kodera's 'Yamato - Nadeshiko' was an atmospheric exploration of Japanese geisha culture, using the lyricism of traditional Japanese movement to good effect, even from simple gestures. Using delicate choreography, Kodera's at-times complex choreography was deftly performed by all three dancers, especially by Tomomi Kosano.

Kodera's choreographic style was an intriguing blend of traditional Japanese movement and contemporary dance, but the audience would have benefitted from more specific explanations in the programme notes of what traditions and scenes Kodera was depicting, as the meaning was lost on much of the audience, and the choreography alone wasn't enough to sustain some people's interest.


The final work of the evening was MurleyDance's 'La Peau', a work inspired by iconic artwork and using iconic music: it could only bode well. And as Resolution! is all about diverse lineups and very mixed bills, why not have some ballet alongside faux martial arts and Japanese geisha?

La Peau was a work in four parts; as the piece progressed, the material improved, and David Murley's talent as a gifted and quirky storyteller overrode his choreographic ability. Reminiscent of Matthew Bourne's earlier works, Murley shows absolute commitment to detail and scene-setting - when was the last time you watched a 20-minute piece with peacock feathers, a Persian rug, a giant clam shell and a zimmer frame?!

The comic highlight of La Peau was 'Aging', inspired by Botticelli's 'Birth of Venus', accompanied by Janis Joplin's 'A Woman Left Lonely', which saw Lucy Casson as an aged crone, precariously perched behind a zimmer frame and insincerely chaperoned by Georgina Connolly and the wonderful Bianca Hopkins in trim red PVC minidresses, more concerned with their nails than with Casson's welfare - trying to trip her up with the giant clam shell at every opportunity.

La Peau offered Murley the opportunity to showcase a wide range of his choreographic talents, by creating four very differing scenes - including a solo for a smouldering bodybuilder in the final scene, who strips down to his dance belt - however Murley's ample choreographic abilities were overshadowed by his gift for creativity, characterisation and storytelling. Murley's is definitely a talent to be nurtured.