Sat 18 Jan: Divija Melally & Saili Katebe, Casper Dillen & Small Sample Size Theatre and Shiyu Lu & Haonan Ma

Divija Melally & Saili Katebe Six Degrees from Home

Casper Dillen & Small Sample Size Theatre Mouth Wash and Razor Blades

Shiyu Lu & Haonan Ma Empty But Solid

The most memorable piece of the evening was Mouth Wash and Razor Blades, choreographed by Casper Dillen. An invitation to an unknown world of badminton and pickpockets with a comedic satire flair. Where one expects humans, instead they are greeted with a herd of large blue dinosaurs and where one never expects to watch people spit out toothpaste, that is what they must witness. A surreal spectacle that questions the boundaries of what can be considered dance. Whilst entertaining and refreshing, the occasional sharp blast of light into the eyes caused by a rotating mirrored sheet did become distracting. Nevertheless, Dillen’s imaginative portrayal of the end of the world was continually captivating. With the performers from Small Sample Size Theatre offering the humour, confusion and sincerity that the piece thrived upon.

Shiyu Lu and Haonan Ma continued the evening with a shift in atmosphere; their piece titled Empty But Solid depicted the intimate tension created in complex family dynamics. The dimly lit stage is dominated by a ruby red cloth adorning a circular table, this bold use of colour and shape forms a carefully curated dramatic aesthetic. Apples added a unique layer to the movement and the space. However, whilst quirky and unexpected, the symbolic meaning of the fruit lacked clarity, leading their significance into question. Even so, the talented performers strongly executed the quick fluctuations in dynamics and emotional intensity. With wrists pressed to their foreheads, repetitive movement scores effectively convey the frustration associated with formalism in the family home.

Six Degrees From Home by Divija Melally and Saili Katebe combines movement with spoken word to convey human connection. Moments of tentative light touch emphasising the space between the two performers, communicating the theme of body language. Unfortunately, due to a mistake made on the night regarding the length of the interval, I was unable to watch the piece in its entirety. I sincerely appologise for not being able to make a full comment on the artistry of this choreographic work.



Megan Harman

My second visit to Resolution 2025, and sadly, I must start with an apology.

A mistake on my part regarding intervals led us writers to miss the start of the last work, Six Degrees from Home, and also a later section, as house management relocated a few of us upstairs. In the circumstances, and in all good conscience, I just don't feel I can fairly and sensibly comment on a short work that appeared to be quite complex, incorporating both words and movement. Apologies again to the creators, Divija Melally and Saili Katebe, for not being able to cover their work.

Working back, the middle piece of Saturday night's show offered an interesting and ultimately rather scary take on East Asian family dynamics. Shiyu Lu and Haonan Ma's Empty But Solid certainly showcased the heavy and controlling weight of convention as Shiyu Lu looked to take off in new directions, the works movement strikingly supported by an electronic score full of uncomfortable fractured scrapings and fidgety eeriness. Presented across several scenes, some rather opaque, Haonan Ma's well-sketched authoritarian patriarch emerged as a grim figure, although the props of a table, chair and apple(s) proved somewhat confusing at times. But all four dancers were technically impressive, and some lifts, in the manner of Kenneth MacMillan, really hit home. A cracking and easily understood ending as well. It's a work that has stayed with me far longer than I thought it would.

I have no hesitation whatsoever in declaring Casper Dillen and Small Sample Size Theatre's Mouth Wash and Razor Blades the most exciting piece of physical theatre I have ever seen at Resolution. A teaser of a synopsis in no way prepares you for the 20 minutes of surreal and bonkers madness that ensues from a deadpan cast of 13. It is a work that deserves a longer life, and I am reluctant to reveal too much, as constant visual surprise is such a vital part of the experience. But the Waltz of the Dinosaurs will long stay with me, and I will never again enter a public toilet without considering the earnest and worrying words of wisdom regarding pickpockets. Glorious work, and I am certainly interested in what Dillen and Small Sample Size do next.

Bruce Marriott