Backley-Astrachan’s work, Human Remains, focused on a post-apocalyptic theme, where out of the ashes, we as humanity can rise again, exploring the concept of surviving where no other have, and beauty and grace from ashes. There where whiffs of the mythological, presented as a retina of images moving through the work. Animalistic tableau gave resemblance of something familiar, moving into exploration, and sitting in the moment as the dancers wove their way through and developed the idea, whilst morphing from idea to idea. There is a subtle beauty, even in the obtuse, in Backley-Astrachan’s work that pervades the whole work — from the way partnerships are transitioned, to the shapes themselves and the detail within, to the consistent return to motif, which makes for satisfying viewing. There is a brilliance to the partnering work — limbs work sympathetically so that the duo easily slides into a trio or slips into a group encircling each other and then moving into interacting in a completely different manner without the audience being particularly aware of how we got from one to the other. Use of perhaps Hebrew, albeit non-English language, was an interesting feature, with one woman shouting it out as if in countdown, adding the intrigue of the work. Backley-Astrachan knows how to create a world for the dancers to exist within, and the audience is drawn in.

LINDA BADGER DANCE INFORMA