The Place, London
January 15, 2026
This evening brought together three works with very different approaches to contemporary dance. From theatrical storytelling supported by live classical music, to an intimate duet built around physical touch, to an abstract collaboration between movement and installation, each proposed its own way of engaging the audience. They formed a memorable evening that moved between clarity, intimacy and experimentation.
Follow Me!! is a playful and energetic dance work driven by strong choreographic structure and live classical music by Taiwanese dance artist Hui-Hsin Lu (盧惠心). It combines theatrical performance, ballet and contemporary dance within a clear structure. Performed by three dancers with live music, the work establishes clearly defined characters and a focus on theatrical storytelling that is seen less frequently in contemporary dance.
The storytelling follows a familiar, almost classical structure, making it easy to follow without feeling simplistic. Audiences without a dance background can easily follow along, while those familiar with dance may read additional layers. The work allows a wide range of viewers to find their own way into the piece, expanding the idea of ‘following,’ opening it up to broader interpretation through movement. The high standard of musicianship really supported the theatrical and musical side of the piece.
But while the choreography is very strong, and ideas are clear and confident, further development of the performers’ skills would allow them to better carry the work’s ideas to the audience. Because the work depends heavily on character, storytelling and moments of ballet-based expression, the dancers would benefit from stronger theatrical and classical performance training in particular. For many dancers trained primarily in contemporary dance, the focus is placed on physical energy and movement, with less attention given to musicality and performative detail, including facial expression, spatial orientation and eye interaction with the audience. The costumes and styling could also do more to highlight character, with make-up and hair playing a stronger role in shaping each role.
Even so, Follow Me!! stands out for its strong choreographic ideas and its ability clear connection with all audience. It was a good start.
A Human Touch by Mia Segal starts as the audience steps into the space. As they walk in, they are invited to stand, look around at friends, family and strangers, say hello, and hug each other. This shared action sets up the core idea of the work: our relationship with physical touch in a world shaped by independence and isolation.
By asking the audience to greet and hug one another, the piece brings attention to how rare and unfamiliar such contact has become, while also reminding us of a basic human need for closeness. As everyone makes their way to their seats, the performance begins with two dancers already holding each other tightly on stage, extending this sense of intimacy into the choreographic space.
What follows is a focused duet that centres on trust, weight sharing, weight transfer and contact improvisation. Much of the movement is semi-improvised, grounded in gravity and mutual support. The dancers come apart and return to one another, testing closeness and distance, risk and care.
The concept is clear and consistently carried through the choreography by Segal. Sound design, layered with the noise of crowds, reinforces the theme of human connection within a wider social setting.
The strength of the work comes from its clear focus on the idea. By staying closely with the physical experience of touch, the piece is able to develop multiple layers of meaning from one central concept. The dancers rely on one another throughout, and the work ends as it begins, with bodies held together. Its ideas are communicated directly and clearly, leaving little doubt about what it sets out to explore.
Collapsing into the Equilibrium Line takes a more abstract and interdisciplinary approach. Created by visual and movement artists Greta Gauhe and Deborah DiMeglio, it brings dance and installation together in the same space. Large, uneven sheets of crumpled paper fill the stage, becoming both the setting and something the dancers move with.
The performers interact with the paper and with each other, slowly working through shifts of weight, pressure and care. Movement unfolds at a measured pace, shaped by resistance and contact rather than speed or spectacle. The dancers perform with strength, and the choreography is carefully made, developing in response to the materials, with bodies negotiating weight, collapse and recovery.
At the same time, the installation remains quite abstract. There are moments when its visual presence draws more attention than the dancers themselves, pulling focus away from the bodies. Although the work sets out to explore collapse as both an ending and a beginning, this idea does not always come through clearly. At times, the materials feel more dominant than the choreography, creating a gap between what the work aims to express and what is experienced on stage. The performers brought strong presence and energy to the work, sustaining its physical intensity throughout.
Overall, the programme was well constructed, each work standing strongly in its intentions. Each also demonstrated a clear focus, whether through storytelling, physical connection or material exploration, even where there was room for further development.
Resolution 26 continues at The Place to February 25, 2026.