Ever-changing movement

Choreographing his genetic code results in an A-Z of what dance can do in Wayne Mcgregor’s latest, writes Kelly Apter

his clever and dynamic choreography. Beautiful and poised, then edgy and exciting, his moves are swift, clean-cut, with high legs and rock-solid balances.

Mcgregor’s capacity to decorate a stage knows no bounds, with scattered solos, duets and clusters of small groups all happening at once, or an intimate duet on one half of the stage and sci-fiesque figures moving slowly on the other. And, because the order hasn’t been dictated by a human being, there is no thought for ebb and flow, it all just happens: fast-paced, beat-heavy routines to the feverishly exciting music of Jlin can be followed by slow contemplation to Max Richter. We never know what’s coming next in terms of mood or atmosphere, and it’s thrilling.

Movement lies at the core of Autobiography’s success, but the gift wrap that makes this present truly special, is Ben Cullen Williams’ design – a huge metal platform that’s raised and lowered – and the stunning lighting design of Lucy Carter, which is a work of art in itself.

Until today, 7:30pm.

0 Wayne Mcgregor’s Autobiography invokes an adrenaline rush not often experienced when watching dance