Rambert

The second half of the piece sees the walls of the room drawn back to reveal a blank stage and a more abstract feel develops. The dancers don crimson robes, almost 'Handmaid's Tale' in appearance. The initial solo dancer is repeatedly 'cloned' until the stage becomes filled with silhouetted figures. It soon becomes apparent that it is the male dancers that are wearing the robes, whilst the females are suited in jacket and trousers. Arturo Márquez's Cuban-inspired Danzones 1-3 maintains the passionate rhythm of the tango throughout, and the combined strength and agility of the dancers develop and reinforce these second-half themes of gender and identity.

After the first interval, the dancers return to a stage that is dominated by a symmetrical backdrop resembling a stylised electronics circuit board, with a central circle that creates optical illusion. At times flat and two dimensional, the circle appears at times to dome outwards, or vortex inwards, as clever lighting bathes the set in either glorious colour or stark monochrome. The transparency of the screen also serves to provide separate performance space front and rear. Symbiosis is described as 'a high velocity celebration of the Rambert dancers' skills'. Foniakadis' choreography fuses elements of urban bustle with naturalistic fluidity. The dancers' patterned leotards are reminiscent of Ziggy Stardust period Bowie. Together they introduce a dystopian space-age feel to the whole piece, and provide a highly stylised audience experience. The newly-commissioned score is from renowned neo-classical composer Ilan Eshkeri, whose film score credits include The Young Victoria (for which he received an Ivor Novello nomination) as well as Norfolk anti-hero Alan Partridge's big screen debut Alpha Papa. For Symbiosis, however, he takes inspiration from Gershwin and Bernstein to manufacture metropolitan mayhem, and from Nyman and Dvořák to encapsulate the symphonic romanticism of nature. Symbiosis received its world premiere in Salford less than a month ago, yet would already appear destined to become an audience favourite.

The highly anticipated revival of Ghost Dances sees tonight's audience already buoyed by the first two pieces, so the desolate sound of wind whistling across a barren desert, and the darkened gloom of a cave inhabited by three painted 'ghosts', requires a channelling of our excitement to adapt to this sombre change of mood. Although driven by traditional rhythms of South American folk music, the atmosphere is one constantly threatened by malevolence from the living dead, and the sense of oppression palpable in the dancers as they approach the cave. This maelstrom of emotion manifests itself in a bewitching battle for their spirit and their freedom. It is an intensely human piece, made even more evocative as the ghosts dance across the cave, lurk in the shadows, and await their chance to single out dancers upon which to prey.

Originally conceived in 1981 as a tribute to victims of oppression in South America, a topic that was red hot in political circles of the time, one does wonder whether the religious conflicts now embroiling our world diminish the immediacy of a piece inspired by revolution against fascist dictatorships – it can now feel like a scenario that is reflecting recent history. But as a performance piece it continues to proclaim that same message of hope triumphing over despair, strength in unity triumphing over division. These are comparisons that can still be drawn in today's battles against deprivation, prejudices and injustice, and as such Ghost Dances remains entirely contemporary, and its revival provides a spectacular and meaningful climax to tonight's magnificent and memorable evening in the company of Rambert.