Terrible beauty

The stage lights rise on Lee Clayden, a powerful figure, built more like a graceless rugby prop forward than a dancer. Clad in underwear he exudes an aura of raw animal strength until he begins to move, at which point his body becomes an expressive instrument performing astonishing feats of balance and speed, including a moment of equipoise where his considerable frame is supported on one arm. The intense physicality of the solo is spellbinding, creating a fascinated hush in the auditorium, broken only by the explosion of applause at its end.

This is the first section of “5 2 10” (5 duets, 2 solos, 10 instruments) by Fin Walker and is characteristically arresting and unusual. Catherine Bennett and Jenny Tattersall later have their own solos, shaped upon their unique qualities as artists. Jason Keenan-Smith and Clayden partner the two women in various combinations in the five duets.

The choreographic invention

is remarkable insofar as each section has its own particular language and the viewer is taken on a journey which embraces new ideas with each ensuing section. The colours worn by the dancers change: yellow, blue, green, white; as inhabiting different landscapes. The music by ...