Tobacco Factory, Bristol
Mark Bruce’s latest work is sensationally stimulating but perilously dizzying and hard to stomach

Mark Bruce is a fascinating, highly distinctive choreographer, his work frequently spiralling around themes of darkness, myth, fantasy and the unconscious. His recent pieces – Macbeth, The Odyssey, Dracula – folded these fixations into well-known narratives, but Return to Heaven harks back to a more fractured, collagistic mode; indeed it draws directly on images and effects from earlier works, notably Made in Heaven.

This is both its strength and weakness. On the one hand, liberated from story, Bruce’s free associations lead to some delirious images, jump-cuts and fusions. A headless giant looms in the darkness. An astronaut falls to earth. In one vertiginous mashup of dystopian road movie and classic horror, two fugitives in a car (Eleanor Duval and Dane Hurst) are stopped by cops, one of whom, his face pelleted by bullet holes, seems to be a zombie. Meanwhile, dismembered hands spider-crawl across Duval’s hair. She mutates into a vampire and gets Hurst in the neck.

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