^{Picture: Jassy Earl}

Samsara is based loosely on the Chinese novel Journey To The West but thankfully no knowledge of that is necessary. You just have to surrender yourself to the seismic building of the world that takes place in Aakash Odedra and Hu Shenyuan’s dance.

It starts with three figures onstage; two of them aren’t real, though you wouldn’t yet know it from Yaron Abulafia’s beguiling lighting. Hu emerges like a spirit hatching from an egg, undulating isolated muscles and stretching his limbs. He and Odedra stalk the stage in hooded black gowns, portentous and monastic. They battle in Shaolin-like spinning combat: legs and clothing slice the air. Then comes an evolution to a calmer, more curious place, where detailed hands and fingers (showing Odedra’s background in Kathak and Bharatanatyam) make bird and flower-like patterns in the air. 

The connection between the two men is astounding; Odedra supports Hu while he dances in midair; Hu suspends Odera from round his neck. They stand, one behind the other, making multi-limbed gods. One of the stand-out stars of the piece is undoubtedly singer Nicki Wells. As part of a live, three-piece band her voice sounds as if it’s coming from the centre of the earth. She brings a feminine power that counterpoints the masculine strength and beauty on display. 

When we come full circle to those statues again, with sand pouring down over them (and the dancers) in columns of light, it all feels tranquil, hopeful and weightless; as if the whole thing could be ready to begin again.  

Reviewed at Lyceum Theatre as part of the Edinburgh International Festival.