First comes Tundra from Spanish choreographer, Marcos Morau. Named after the frozen tree-less landscapes of northern Russian, Tundra is inspired by Russia’s history, folk tales and revolution. The piece starts with a prologue where eight dancers in Russian folk costumes with long conical skirts that cover their feet glide around the stage as if on wheels. For the majority of the piece, though, all eight are in identical multicoloured striped body suits (costume design Angharad Matthews), their faces expressionless, as they execute coordinated movements of which the most spell-binding for me were the wave effects.
Afterimage, from the Brazilian-born, Europe-based choreographer Fernando Melo. This offers a very clever play on the reality and illusion of our perceptions. Two dancers perform in front of a semi see-through mirror. Behind the mirror a further dancer interacts with their reflections.
Finally, Caroline Finn’s Revellers Mass, an exhilarating work inspired by a whole raft of religious and pagan imagery. The set (Josef Fletcher) presents a long rectangular table, which later becomes a table for a fleeting recreation of Leonard Da Vinci’s Last Supper. The piece ends with Edith Piaf’s Non, Je Ne Regrette Rien.
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