The audience enters an expansive auditorium, lights dimmed, to the hum of machinery. Three blinding lamps hover on stage, however, as the lamps begin to shift through space one realises the performance, Jordjenta, has already begun. Grouping together, the lamps are turned upwards revealing the upper bodies and faces of three female dancers—Kristin Helgebostad, Ida Wigdel and Ingeleiv Berstad from Norway—wearing matching polyester bomber jackets, limp blond hair and cheek retractors familiar to a dentist’s surgery. The striking play with props and technical elements tha tensues sees them walk a fine line between interpretations of Shakespeare’s sinister Three Witches, (or perhaps incarnations of Aileen Wuornos,) and simply being hyperactive triplets who speak a language entirely their own. As the work progressed the dancers’ threatening presence became increasingly familiar, particularly after having exhausted their resources, which left me wishing they had pierced the fourth wall and taunted their viewers, even if only a little.

– LUKE AARON FORBES

Published by Aerowaves Springback, 18 April 2015. See: http://aerowaves.org/springback/reviews/article/jordjenta-soilgirl