Montreal-based choreographer Helen Simard channels loops and patterns of mathematical precision through the vitality of the human body in this energetic, abstract piece of pure dance. Three performers take turns as the main focal point, or sometimes come together in a moving Mobius strip of harmony, spinning and jogging around the stage to a soundtrack that mirrors their repetitions with its own loops and refrains.

It’s a relentlessly demanding physical feat for the dancers, and they throw themselves into it with marathon stamina. Nindy Banks is particularly magnetic to watch, as she pulses through every passage and fugue of movement. Stretching each pendulum swing of momentum through her body to the tips of her fingers, it feels sometimes like she’s being driven by a force she is powerless to resist. From an audience point of view, however, the choreography is testing in its determination to keep its dancers in their own individual worlds, and the patterns are so abstract and repetitive that it’s only the performers’ passion that keeps it from tipping over into self-indulgence. 

Roger White’s score of electro-pips and repeated refrains is also likely to be divisive. It feels heavily influenced by Steve Reich, but with a more aggressive synth edge, and is played at brain-shaking volume. With its complex structure and non-stop energy, Papillon might appeal to hardcore contemporary dance fans, but it needs to shift its balance away from patterns and towards human connection to really make an impact. 

Papillon, Summerhall, until 27 August, 7.20pm.