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A black kaleidoscope of nerve-shredding entertainment.
Jakop Ahlbom has made a loving homage to the genre that’s clever, thoroughly entertaining and has some genuine jump-out-of-your-seat moments.
Vantournhout dons platform boots and boxing gloves and levers himself into handstands and windmills and flips, repeatedly testing himself as if serving some sort of gymnastic penance.
Hayward is astonishing. Tiny, effortlessly musical, with a radiance of line that illuminates every corner of the stage, she dances from within, outwards.
Anna Nilsson plays, at one point, the disease that may be eating away at our protagonist, her acrobat’s body warping and mutating, before moving into a hypnotic handstanding solo
Alexander Campbell and Yuhui Choe find real emotional depth as the flighty, fluffy lovers
When the two dancers meet and melt into their central pas de deux, the lyricism of their suspended lifts, the lavish meshing of their bodies is all the more transcendent for having been hard won