![]() ![]() The piece is all action, and no consequence. And for all the dizzying hyperactivity on stage, nothing is being said. They quote the choreography of intimacy and eroticism, but have no capacity for either. Its occupants are dazzling, but they have no hinterland. ‘We should not be persuaded that any profound truths wait behind the smoke and mirrors.’ Photograph: Tristram Kentonīut I’m not sure I’d like to live in McGregor’s icy, Apollonian universe. Jamie xx’s score, meanwhile, veers between the anthemic, with dreamy vocals reminiscent of Ennio Morricone, and a steely, insistent pulse. Eliasson’s sets are reflective and translucent they mirror the dancers, distort sight-lines, and shear the stage space into unexpected configurations. When they move, it’s as if constellations are forming and reforming. ![]() The work opens in darkness with the dancers invisible except for pinpoints of light set into their costumes. And the state-of-the-art effects are nothing if not impressive. Daniela Neugebauer, a longtime McGregor dancer, darts and flickers like a switchblade. Jérémie Bélingard, also an étoile, measures out his moves with the tense economy of a panther. Marie-Agnès Gillot, the Paris Opera étoile, is possessed of a fabulously commanding grace, all lean curves and contained power. Duos and trios interlock, engaging and disengaging with cool fluency. Bodies fill the stage, rippling and swaying, probing the air with hyperextended limbs. The choreography is McGregor at his most intricate. Superbly danced by a cast of 15 – six from the Paris Opera Ballet, the others from Company Wayne McGregor – the work is a precision-cut spectacular set to a specially commissioned score by the producer Jamie xx, and with an elaborate, evolving set by Olafur Eliasson. ![]()
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