Trio Collective Re-re-twothousandth-re

Three laptops sat on chairs, three stripy tops atop human legs. Thus began Trio Collective’s thought-provoking deconstruction of the choreographic process which, inevitably, involved more questions than answers.

The three performers, responding to oddball instructions from one of the company (how do you dance as if you’ve encountered a Brazilian crocodile?), played a curious game of dance karaoke as they mimicked images only they could see on their individual computer screens. It made for an intriguing spectacle that never quite broke out of its self-imposed confines: if the questions had translated into more entertaining actions, then it would have worked as a piece of entertainment as well as an academic exercise.

Keith Watson

Though varying dramatically in theme and tone Tuesday night’s performances all explored dance as a means to forming an identity.

The evening opened with Trio Collective’s re-re-twothousandth-re, an ambitious work about three girls who use their laptops as magic mirrors and emulate choreographic ideals from 2003, never once tearing their eyes away from the screen.  Philosophical musings voiced at the side of the stage remained largely unintegrated into the movement and therefore sat oddly with it, apart from a single request to create a piece inspired by Andy Warhol (the lurid colour scheme and pastiche-like disco and lyrical moves certainly conveyed the Pop artist’s aesthetic). The lighting was also evocative, especially when the theatre darkened and the dancers’ faces were illuminated by their laptops, rendering them inhabitants of their own glossy worlds.

Katerina Pantelides