Rambert, dance review: Performed without trace of acting or expression

Joining in the current Shakespeare jamboree, Rambert takes on Macbeth. Sort of. In Tomorrow, Australian choreographer Lucy Guerin revisits the Scottish play (she co-directed a theatre version at the Young Vic last year) and pulls it apart. The monochrome stage is sliced down the middle: on one side a silent reenactment, in reverse; on the other, seven zombified “witches” who move in jerks and shudders and more than a hint of Thriller nights.

The “play” is performed without trace of acting or expression, but it’s strangely compelling, like the emotionally withholding partner whose head you’re desperate to get inside.

The witches offer unsettling emotional tenor and perhaps the characters’ psychological states writ large, but their secrets are not given up easily. I genuinely can’t work out if it works or not, but it’s truly intriguing and the gist is division, disjunction and death.

There’s enigma too in the return of Shobana Jeyasingh’s Terra Incognita, full of elegantly wrought choreography — long, taut lines topped with Indian filigree — and a sparsely percussive score that’s all unresolved anticipation.

The finale is a straightforward party piece, Itzik Galili’s A Linha Curva. Twenty-eight dancers in hot pants swivel their hips to a Brazilian beat — what’s not to like?