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Fuse CollectiveThat thing

Maria MasonouInACTION

Naomi Chockler “...If I wanted I could use this time wisely”

The evening began with That Thing, a solo exploring chronic illness created and performed by Lucy Clark. A projected morphing orb and other visuals by DANI&TING represent the illness in the background while a pre-recorded Clark describes her pain, fear and feelings of invisibility over live music by Philip Kinshuck. Sharing a personal experience requires great bravery and vulnerability, and watching this work, I could appreciate and understand Clark’s well, though I couldn’t engage with it fully. Perhaps in the next iteration, it would be worthwhile to explore a greater range of how vulnerability can be expressed through movement.

, created and performed by Maria Masonou, is what I would describe as weird in the best way. Ironically quite active, Masanou executes distorted contortions and strange, disconnected moves presented like puzzle pieces, but don’t worry- the answers are hiding just beyond the mattress centre stage left. She starts by sluggishly shifting on the mattress under a soft spotlight, allowing the audience to remember and connect to that state of existing (I admit, I know it well). Text, visuals and shadows are gently introduced before we move swiftly to the extreme with highly physical movement that sort of doesn’t make sense until it does. Between a glass of water, a striking spotlight and a cheeky wave, the piece ends and I can settle in to appreciate this unique offering examining technology and isolation.

In “...If I wanted I could use this time wisely,” choreographer, Naomi Chockler transforms our unavoidable daily commute to a delightful journey juxtaposing abstraction with literal, pedestrian gestures. The performers beautifully commit to the intention of the movement repeating and continuously modifying clear actions like holding onto the pole or nodding off while layering engaging partnering interactions of duets and trios. The music composed by Jonny Aubrey- Bentley supports and builds momentum throughout the work while keeping us grounded with sounds of train tracks and blaring horns. It takes great skill to present a story without a scripted narrative, and it makes me wish I didn’t have to get off at my stop.

Sarah Lapinsky

That thing by Fuse Collective is many things. A solo, group work, autobiographical journey and
interdisciplinary experience. Though rarely did I feel all the facets deeply connected. Lucy
personal sharing of movement and spoken word in relation to her hidden disability is
emotionally brave, minimal and skilled in execution. The visual art, digital backdrop by creative
duo DANI&TING (Daniela Zaharieva and Yi Ting Liong) has many iterations, representing the
innermost workings of an idiosyncratic, physical experience - fireflies over an undulating
rainbow making a lasting impression. The sound by experimental musician Philip Kinshuck is
the weakest link for me; more random scape than anything else. Reiterating the overall lack of
connection within this collective piece.

by Maria Masonou starts in a very obvious way: Masonou on bed à la Tracy Emin
with the lethargy blues. The work has numerous strengths, most keenly Masonou as a very
strong, performative presence. The movement offers a consistent bipolarity - inertia versus wild
physicality. Moments of spine flexibility are eye-watering; but not in a contortionist manner, more
a torsion induced entrapment flavour. A latter section, under interrogation-style spotlight takes
the bipolarity into the emotive: smile/frown on repeat. Which out of context sounds simplistic, but
in action (pun!) is visibly powerful. An interesting work by an interesting maker. All observed like
one's watching a thriller - a compliment indeed.

“...If I wanted I could use this time wisely”
by Naomi Chockler was a very strong closing work. It
felt refreshing to experience a group work after two solos, and one that is so consummate.
concept is the daily commute but it isn't rammed home. Rather she takes the idea
and explores it choreographically, allowing us to do the same - no literalism, therefore enabling
ample interpretation possibilities. The movement has a discernible relationship between
supporting and being supported, communicated through both physical clarity and emotional
gravitas. Elements of Locking also punctuate the dance phrasing - yes dance! How joyous to
bask in original, intricate, musical, expansive dance language. I hope Chockler is good at writing
applications as she needs to apply for funding ASAP, get some, and then become even braver
with her already relevant, choreographic talent. A dance voice to listen out for - and one that
clearly inspires her evidently committed dancers/co-creators.

Matthew Paluch