Palais Garnier, Paris
Jessica Wright and Morgann Runacre-Temple’s Arena spills off the stage while Morau’s equally audacious Étude has balletic body snatchers

What a joy to find Jessica Wright and Morgann Runacre-Temple given full run of the grandiose Palais Garnier. The sparky duo from London, known as Jess and Morgs , bring their audacious blend of choreography and live camerawork to a gripping new creation, Arena, with video design by Jakub Lech. It peaks with a bravura sequence in which Loup Marcault-Derouard leaves the stage and is seen on a huge screen, racing around the opera house’s imposing halls and staircase. Arena gives the sense of choreographers in a candy store, seizing the real estate newly available to them after their hit, tech-centric reboot of Coppélia for Scottish Ballet in 2022 .

The piece opens with understated, percussive coolness and shades of A Chorus Line – an athletic squad limber up with individual and collective confidence. “Next please!” barks the voiceover and a camera operator glides down the queue, capturing beady eyes, beating chests, glistening sweat. In the age of Instagram, dancers are ever-ready for their closeups and here the port de bras frequently results in tightly framed faces – but Arena exposes the perils of chronically online culture and the urge to compete, compare and conform. There is a gladiatorial element to Annemarie Woods’ costumes yet this is a dystopian contest that also feels rooted in the present day.

Palais Garnier, Paris
Jessica Wright and Morgann Runacre-Temple’s Arena spills off the stage while Morau’s equally audacious Étude has balletic body snatchers

What a joy to find Jessica Wright and Morgann Runacre-Temple given full run of the grandiose Palais Garnier. The sparky duo from London, known as Jess and Morgs , bring their audacious blend of choreography and live camerawork to a gripping new creation, Arena, with video design by Jakub Lech. It peaks with a bravura sequence in which Loup Marcault-Derouard leaves the stage and is seen on a huge screen, racing around the opera house’s imposing halls and staircase. Arena gives the sense of choreographers in a candy store, seizing the real estate newly available to them after their hit, tech-centric reboot of Coppélia for Scottish Ballet in 2022 .

The piece opens with understated, percussive coolness and shades of A Chorus Line – an athletic squad limber up with individual and collective confidence. “Next please!” barks the voiceover and a camera operator glides down the queue, capturing beady eyes, beating chests, glistening sweat. In the age of Instagram, dancers are ever-ready for their closeups and here the port de bras frequently results in tightly framed faces – but Arena exposes the perils of chronically online culture and the urge to compete, compare and conform. There is a gladiatorial element to Annemarie Woods’ costumes yet this is a dystopian contest that also feels rooted in the present day.

Palais Garnier, Paris
Jessica Wright and Morgann Runacre-Temple’s Arena spills off the stage while Morau’s equally audacious Étude has balletic body snatchers

What a joy to find Jessica Wright and Morgann Runacre-Temple given full run of the grandiose Palais Garnier. The sparky duo from London, known as Jess and Morgs , bring their audacious blend of choreography and live camerawork to a gripping new creation, Arena, with video design by Jakub Lech. It peaks with a bravura sequence in which Loup Marcault-Derouard leaves the stage and is seen on a huge screen, racing around the opera house’s imposing halls and staircase. Arena gives the sense of choreographers in a candy store, seizing the real estate newly available to them after their hit, tech-centric reboot of Coppélia for Scottish Ballet in 2022 .

The piece opens with understated, percussive coolness and shades of A Chorus Line – an athletic squad limber up with individual and collective confidence. “Next please!” barks the voiceover and a camera operator glides down the queue, capturing beady eyes, beating chests, glistening sweat. In the age of Instagram, dancers are ever-ready for their closeups and here the port de bras frequently results in tightly framed faces – but Arena exposes the perils of chronically online culture and the urge to compete, compare and conform. There is a gladiatorial element to Annemarie Woods’ costumes yet this is a dystopian contest that also feels rooted in the present day.