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Family/Love Chapter 2; Transverse Orientation review – from one extreme to another

Selfridges Loading Bay; Sadler’s Wells, London
While Sharon Eyal’s repetitive works writhe with energy, Dimitris Papaioannou’s new piece lacks momentum but not beauty

A work by Sharon Eyal presented in the urban setting of the loading bay at Selfridges on Oxford Street, London, and one by Dimitris Papaioannou that turned the august stage of Sadler’s Wells into a watery island, took contemporary dance to different extremes. To quote Elvis Presley, one needed a little less conversation and a little more action; the other needed the opposite. Somewhere in the middle might lie the perfect dance work.

Eyal’s programme (co-created by Gai Behar and with music by Ori Lichtik) was slightly derailed by Covid, which kept too many of the dancers of tanzmainz, the contemporary dance company of Staatstheater Mainz, at home in Germany for the much-anticipated UK premiere of the choreographer’s Soul Chain. Instead, they substituted Family, a slight piece in which a group of dancers stick together, touching the hearts on their costumes as they gyrate and gesture.

Sarah Crompton is the co-author of Leanne Benjamin: Built for Ballet, published on 1 November (Melbourne Books, £35). To support the Guardian and Observer, order your copy at guardianbookshop.com. Delivery charges may apply

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