Rambert review – Lucy Guerin's zombie dancers channel Macbeth's hurlyburly

Sadler’s Wells, London
Lucy Guerin returns to Shakespeare’s tragedy, Shobana Jeyasingh’s Terra Incognita looks even better than before and Itzik Galili’s A Linha Curva is a carnivalesque closer for this triple bill

It’s a long time since I’ve seen a dance work as maddeningly and rivetingly esoteric as Lucy Guerin’s new commission for Rambert. Guerin recently collaborated on a production of Macbeth with the director Carrie Cracknell, and Tomorrow is like a dance sequel to that play. In this new piece, the stage and the action are again divided between two worlds, the real and the demonic. But no text is spoken, and the narrative is played out in reverse order.

At first, the puzzles of the work outweigh the pleasures. It takes a while to figure out the identities of the seven dancers dressed in black who mime the action of the play on one side of the stage. It’s also a challenge to follow the plot, not only because it’s running backwards, but also because Guerin’s choreography is so deliberately flat in its emphasis and affect that the murders and portents barely stand out from the rest of the action.

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Source: Guardian Dance News

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