Dance review: Wayne McGregor/Random Dance: Far

FOR the past ten years, Wayne McGregor has been way ahead of his time. Whereas most choreographers are content to enter a studio full of dancers and let inspiration take its course, McGregor has worked with cutting-edge cognitive scientists to explore the connection between mind and body.

So it was something of a surprise when the curtain rose to reveal four dancers clutching blazing wooden torches, to the sound of Giacomelli’s tender 18th-century work Sposa son Desprezzata.

For his latest creation, FAR, McGregor is looking back in order to move forward. Research into the Age of Enlightenment, and in particular Roy Porter’s book Flesh in the Age of Reason, has further fuelled his interest in the body.

As the show unfolds, the four flames were extinguished, the Giacomelli came to an end, and we entered a whole new realm. Experimental composer Ben Frost kicked in, with a far more abrasive sound, and the inspired set and lighting design of rAndom International and Lucy Carter took over.

A back panel of 100 small lights flickered on and off to create patterns every bit as beautiful as the torchlight, but now in the 21st century.

Yet still shadows prevailed, due to the clever angles of the lights. In fact, cleverness was all around.

McGregor’s choreography isn’t for everyone; there were few rounded edges and there was a distinct lack of prettiness. Instead he gave his dancers compelling, unexpected movement which pushed their bodies, and our minds, to fascinating new places.