Two high-octane works from Australia and Northern Ireland explore class, gender and the fortitude of feminism. 

Hope Hunt and the Ascension into Lazarus

Masculinity, testosterone, social class, identity, football allegiance, religion, aggression – the id of the Northen Irish chav is broken down and raised again in Oona Doherty’s dextrous, captivating choreography for Hope Hunt and the Ascension into Lazarus. 

Doherty’s choreography brings a vibrating, method-acting intensity and nuance. It’s a moving, swaggering, loving, razor-sharp tribute to a group rarely afforded space in contemporary dance. 

Wolverine

Emma Harrison’s solo work Wolverine with composer Amy Flannery turns the need to carry your keys in your fist at night, like Wolverine, into a cycle of transformation, subverting and appropriating feminine archetypes, mythology, wolves, pop culture and self-defence. 

A highly physical work somewhere between dance, cabaret and performance art, it explores critical notions of gender, power, the pervasiveness of feminine archetypes in our stories, and the repercussions of those tropes on women’s bodies. 

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