They begin the piece bound together, hands encased in a cage of wire mesh. More wire wraps around their bodies, masking one and sprouting in sculptural spurs from the shoulders of the other. Slowly the two performers, choreographer Iona Brie and Emily Adams, liberate themselves from these wire garments – and each other, freeing their limbs. They proceed to upend their bodies, hands crabbing on the floor, before embarking on a series of mechanised movements to pulsating music. Their wrists rotate, their knees lift, their movements are jerky but fluid. As the piece nears its end, Brie and Adams appear to merge, one’s jaw fusing with the other’s shoulder, becoming one.
Kayleigh Price’s solo piece begins with a burst of movement. She sprints round the stage in a bedroom frenzy to the pounding sound of System of a Down, roaring, running. Her moves are athletic but lacking in precision. Eventually, exhausted, she sits on a stool, breathing heavily, trying and failing to form words. After a while she arranges a circle of playing cards on the floor, only for the cards to become scattered. Next she tries to build a house of cards. Price’s piece is raw but it speaks of someone trying to take control, as a working class artist, as a woman, and the way this can take its toll.
Rare Salt’s piece Blood in the Water in some ways echoes the first piece. Once again there are two performers, Sara Augieras and Giulia Iurza, clad in specially-made costumes. This time reflective suits that rustle and crackle as they move, a noise that quickly becomes part of the aural experience of the piece. Choreographer Tom Wohifarht and co-director Rachel Elderkin use the back wall as a canvas, the two performers hurdling and straddling one another, using each other’s bodies as springboards, tussling together, their gestures competitive. Only slowly do they start to see each other, to move in unison, as their outfits continue to crackle and sparkle.