Medusa — the name of the snake-haired gorgon from Greek mythology — also means jellyfish in a number of languages, including Hebrew. It is this dual meaning which Israeli choreographer Jasmin Vardimon has seized upon in the latest work for her small company. The piece attempts to link gender politics, marine pollution and the familiar story of Medusa in a way which does not always work. Nevertheless, it is thought-provoking.

There are aseries of scenes in which the dancers transform themselves into various creatures: a jellyfish, subservient, doll-like women and vengeful, monstrous Medusas.

The props are intriguing, if not downright dangerous: the dancers are wrapped in plastic, dragged along by ropes, or have heavy rope wound around their heads. At the back of the stage, six chimney-like structures belch fumes; later, rubbish litters the floor and a dancer dons a gas mask. Two men appear, wearing giant antlers like rutting deer; the women are posed like mannequins, or abused. It is disturbing stuff.

Vardimon demands a lot from her dancers, and they deliver in full. Their power and energy is admirable; their limbs are like rubber. Some of the movements are startling in their originality, such as when several pairs of hands transform themselves into Medusa’s head of writhing snakes, or when a shadow dances with its “owner”.

The link between endangered sea-life and sexual politics is tenuous to say the least. But in this #metoo world, she poses some interesting questions about men, women and who holds the power. Just do not expect any easy answers.