Resolution Reviews 2026

Tue 10 Feb @THE PLACE Theatre - THE RESOLUTION FESTIVAL 26 https://theplace.org.uk/blogs-stories/tue-10-feb/ Danyna Mearns and Adam Havsky, Antonia Latz and Luke Maher, and Rebelo Dance Company

Danyna Mearns and Adam Havsky The Final Frontier

Antonia Latz and Luke Maher REM

Rebelo Dance Company MYSTIQUE

The Final Frontier opens with a series of fragmented memories between two individuals. I appreciate the concept of presenting various small stories, each memory concisely expressed through different disciplines. A strong, humorous tone runs throughout the work. The fragmented memory structure holds significant potential, though it could benefit from further development. However the examination of dying and death could be further articulated and embodied. It would be valuable to articulate more clearly how the chosen elements — movement vocabulary, circus techniques, and live music—specifically engage with the theme of death. What is the relationship between the physical language and the underlying concept? Why were these particular artistic choices made? At times, it seems that opportunities to expand or deepen the improvisational moments are overlooked.

Mystique presents the fortune teller as a guide in a dark and mysterious atmosphere. The lights attached to the dancers' wrists create a captivating visual effect that enhances this ambience; however, the transitions between the lights that the dancers hold could be further developed. The group formations and patterns often appear too similar, resulting in a somewhat blurred visual composition on stage. While the character of the fortune-teller is intended to embody sensuality and intrigue the audience with mystery, this aspect feels only partially realised. The dancers demonstrate strong technique and effectively convey struggle and intensity through their movements. With improved clarity in spatial composition, props and character development, the piece could more fully capture the vision outlined in the program.

REM is a vibrant solo performance accompanied by live music, characterised by clear and effective dramaturgy. The piece compellingly explores how trauma manifests within and through the body, revealing psychological experiences through physical expression. The movement vocabulary is precise and varied, encompassing hand and foot gestures, body alignment, shaking, and self-touch—each element contributing meaningfully to the embodiment of trauma. The body becomes a visible site where these ideas are transformed. The expression of breathing motion is particularly articulated through various body parts; its audible presence deepens the work's intimacy. Subtle articulations of the hands, back, and breath create a strong sense of internal processing made external. The choice of costumes enhances the thematic elements, while the live music intensifies the emotional impact, resulting in moments that are both uplifting and profoundly moving. Overall, REM presents a sensitive and cohesive exploration of trauma through the body, showcasing strong interdisciplinary collaboration.