Dance review: Rambert2, King’s Theatre, Edinburgh

They have less training, less experience and less technical expertise than the dancers in the main company. Yet the performers of Rambert2 have an undeniable quality that renders all of that completely irrelevant.

Aishwarya Raut and Connor Kerrigan of Rambert2 PIC: Foteini Christofilopoulou

Rambert2, King’s Theatre, Edinburgh ****

Comprising young dancers aged 19-25, this new wing of Britain’s oldest and most revered modern dance company is a thrilling addition to the touring landscape. Making its Scottish debut with a triple-bill of works, Rambert2 – like Nederlands Dans Theater 2 before it – is the epitome of youthful enthusiasm, energy and spark. The programme, too, proved the perfect vehicle to carry this abundance of vigour. Grey Matter by Rambert’s artistic director, Benoit Swan Pouffer, may meander briefly in places, but the moments of group unison grab you by the eyeballs. Rafael Bonachela’s duet E2 7SD, takes us to the heart of a young relationship and – despite being created in 2004 on two entirely different dancers – still feels personal and passionate.

But it is Killer Pig by Israeli duo Sharon Eyal and Gai Behar that really proves this new company’s mettle and – it must be said – incredible stamina. For 42 minutes, the pace never drops, with eight dancers sharing the stage almost constantly. Dressed in flesh-colour leotards or high-waisted pants, the muscular movement of these fit young dancers (and I mean that entirely in the sporting sense) is on display; fluid, punchy and tightly synchronised.

Eyal and Behar always bring a nightclub-esque quality to their work, and who better to deliver such haze-covered, beat-driven choreography than this talented group? - Kelly Apter