![]() 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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