In this production, the background is formed by three storeys of container rooms stacked on top of each other. They could easily be the container homes proposed for asylum seekers. In a room of their own, each dancer finds peace and tries to come to themselves. But in these rooms they are also beset by less agreeable memories of their childhood, as one of the female dancer’s dream of incest illustrates. The idea of this set is not original, having often been used before, but here it works well. From their rooms they take over the stage in a whirling, never-ending dance movement set to classical, rock, punk and hip-hop music. At the close, a single dancer remains lying exhausted on the floor, while Sarrokh urges him not to give up. Then Paulo Nunes appears from nowhere and shows his abilities in breakdance, in spite of his physical handicap. This is a swinging, highly varied performance with appealing, insistent images.
And this is without Martha Lopez Garcia, who, as the result of a leg injury, had to miss the opening night. Her flamenco part did not therefore contribute as much to the show as it should have done, although she was expertly replaced by the Polish Magdalena Przybylek.