Knots

Published Monday 21 August 2006 at 13:00 by Katie Phillips

The opening scene of Knots sees three ‘Jills’ dragging three ‘Jacks’ who are seated on the trains of their long, white wedding gowns across the stage. Immediately we see that this is not a political piece but a personal one. What happens when we tie the knot? How does the relationship expand, grow, suffer or decline?

Cosceim Dance Theatre hardly paint a rosy picture of honeymoon bliss. Their ensuing physical games of flirtation, analysis, sexual positioning and naughty words tie characters together. They intertwine emotionally and physically. A bisexual snog-fest sees the dancers tangled around one another in an orgy of tongue action, and later a Jack literally rips his bleeding heart out to give to a Jill, indicating the bonds people will try to create for love.

A white perspex box set is used as a changing room, stage, confession box and time for reflection but is also a claustrophobic container from which dancers often try to escape.

The performers are committed and feisty, their physical actions often aggressive, propelled into confrontation by a raw sexual energy. They use tangle text to express psychoanalytical viewpoints, some of which push at cliche - “I am bad because my mother didn’t love me”.

Overall it packs a high-octane punch and is sure to appeal to those wanting to see edgy physical work.