Mesmerizing and haunting, The Sacrifice grips from start to finish.

Dada Masilo is both choreographer and sacrifice as she bares her body and soul for all. Known for reimagining classic European ballets in an African context, her latest project is based on The Rite of Spring, a work that has been reinterpreted many times since its 1913 premiere. Masilo takes inspiration from Pina Bausch’s 1970s version, as well as the Tswana traditions of Botswana, where dance is an integral part of storytelling and healing.

Divided in two parts, the first being a euphoric celebration of the coming of Spring. With smiles splitting their faces, the dancer’s bodies are wholly consumed by the movement, with Masilo as the centrepiece. Movements are wild yet controlled, dancers exuding ecstasy as they respond to the music played by the onstage quartet. Harmony is broken when the dancers stop to inform the musicians that they’re playing too fast, even for them; a rare insight into the authenticity of the performance taking place. Despite this slight blip the musicians were nothing but outstanding with Ann Masina’s voice stealing a starring role. The opera singer soared above all, her voice lacing every moment of the show with a human and connectable texture.

Part two was introduced with a drastic tonal shift. Gone are the ecstasy and celebration. Taking their place is a dreamlike sombreness that engulfs dancer, musician, and audience. The story is the titular sacrifice, a woman from the tribe being prepared and presented ready to be taken. Dancers becomes more panicked, their bodies surge and heave as Masilo’s cries take over from the onstage quartet who can do nothing but watch from the side-lines. There becomes a separation between man and women, those dressed in white and those in the original earth-coloured robes from part one. A strong feeling of oppression looms in the air as Masilo is held in place before being offered to Masina, as if she is given to the music of the community.

Masilo has managed to meld celebration with death, ballet with traditional African dance, and bodies with voice. The show is an almost seamless display of storytelling that, whilst getting slightly lost in part two, manages to land with significant resonance and impact.