Review: Deepstaria, Sadler’s Wells

Whenever engaging with contemporary art, be it paintings, sculpture or, in this case, dance, it’s hard to know how much to research ahead of time. How much will understanding the creator’s thought process help with an understanding of a complex piece of art? Something that can be a bit challenging. And should it even matter? Should you just enjoy the art and take whatever it gives you?

I found myself in this quandary ahead of Wayne McGregor’s latest offering, Deepstaria. At it’s most simplistic, the show is about jellyfish. McGregor is fascinated with the deep sea, something he says that we know less about than deep space. He uses innovative technology to bring his vision alive, with the use of Vantablack Vision, an ultra-black light-absorbing colour set in a rectangle against the back wall, looking eerily like a hole. Music designers LEXX employ the use of Bronze AI, which is said to enable recorded music to have the “unpredictable quality of live music every time it’s played”. And the lighting design by Theresa Baumgartner feels innovative and exciting, with complete darkness interspersed with beams of light that leave you winded.

But, at its core, this is a dance show, and the Wayne McGregor Company are sensational to watch. Strong and powerful, every pose is controlled even when they are contorted beyond belief. It feels a real privilege to be in the presence of such incredible physical talent, and together with the effects of the lighting, their muscles ripple, moving around the stage like the jellyfish McGregor was inspired by.

In a post-show talk at the first performance, McGregor talks with awe of the talent of his company. It is particularly interesting to note the impacts of the Vantablack Vision on the dancers. They lose their sense of how large the stage is, and to help adjust to this they would rehearse in the dark. It’s a really interesting concept, which doesn’t stray into gimmickry.

Whilst the lighting design is impactful and impressive, it does become a bit challenging. With tired Thursday evening eyes, I found myself having to look away at times, as the lights flash and change abruptly. Complete black outs are used throughout, and whilst they are not long, they can feel unsettling. Sudden changes mean that it takes the eye a while to adjust. Perhaps this is intentional, we would feel unsettled being plunged to the depths of the ocean. But it doesn’t mean that it was always a pleasant experience.

It’s hard to pinpoint just what makes a show engaging, and whilst Deepstaria is impressive and powerful, it also feels a little long. A man next to me checked his watch a couple of times, and I found myself itching to do the same. It’s unclear why, because the show is impactful and impressive, and its use of the latest technology enhances the performance and the human endeavour on stage, yet it somehow just misses the mark. Often, I find contemporary dance unexpectedly moving, but I left with all my tears intact.

This show marks 30 years of Sir Wayne McGregor’s company, and later this year there will be an intriguing exhibition at Somerset House. He continues to push the boundaries of dance and uses technology in sensitive and thrilling ways. But more importantly, watching his company perform, there’s little doubt that you’re witnessing some of the best dancers in the world, it’s an honour to be in their presence.

Concept, direction, choreography and design by Sir Wayne McGregor
Choreography created by Company Wayne McGregor
Lighting design by Theresa Baumgartner
Sound composition by Nicolas Becker and LEXX

Deepstaria is at Sadler’s Wells until Sunday 2 March 2025.