![]() Moisala is the bold, brassy alpha, alternately mothering and bullying her other half. Niemi, who has several pieces of string knotted around her fingers (a memory technique advised by string-collecting grandmothers everywhere), is the anxious beta, struggling to recall her routines, eating a piece of string before the beginning of each with the air of a nervous squirrel. To be brutally honest, the routines feel rough-edged, and the soundtrack is far too dramatic, but Lola is carried by the dynamic between the two performers. Hanna Moisala and Heidi Niemi skitter their way through a two-person skipping set, some feats of weight bearing (one lies down and the other stands on her, both with deadpan faces) and an impressive tightrope routine performed by Moisala alone. They work with a single, simple theme – memory loss – and push it for everything it’s worth. Lumo Company’s ‘dark contemporary circus’ piece, Lola, goes in the opposite direction. The aforementioned giant floating face – carried by third masked performer, Niko van Harlekin – is fun but its purpose is hazy. Ishtar Bakhtali’s remarkable soundtrack, performed live, is a haunting mixture of tongue clicks, rich, melancholy singing and cleverly looped sound effects, but her unmasked presence uncertainly straddles that of narrator and contributor. ![]() The Ordinary Life of Lilly Lesloyd does tend to suffer from a sense of theatrical scrapbooking elements of the performance feel as if they have been pasted in more for their individual aesthetic value than their contribution to the work overall. Her progression – from school to workplace, childhood to adulthood, love of parents to love of her husband – is easy to follow, although some strange extended scenes involving throwing sheets of paper, and a giant floating face made of a bin lid, cups and two balloons, puzzle more than they intrigue. The eponymous Lilly Lesloyd is prettily portrayed by Leila Bakhtali, in a papier mâché mask that gives her a marionette air, emphasized by the heavily mime-influenced choreography. Though these pieces can sometimes feel scrappy and so freshly hatched that they are still staggering uncertainly through their own choreography, this energy – which makes platforms like Resolution such an important presence in the dance world – runs through them all like a current.Ĭul de Sac’s The Ordinary Life of Lilly Lesloyd takes a fairly familiar theme and brings a Studio Ghibli air of whimsy and magical realism to the proceedings. The last night of the Resolution festival showcases three pieces of such distinct and discrete influences and lineages that it almost functions as a critical response to what dance ‘is’. The Ordinary Life of Lilly Lesloyd at The Place as part of Resolution 2017.
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