SPANISH choreographer Marcos Morau’s Tundra, the opening piece of Awakening, is 30 minutes of fluid and mesmeric robotic movement with the dancers, clad in floor-length blue dresses which mask their feet, giving the impression that they’re on rollerblades, so smoothly do they glide around the stage.

After they depart, eight dancers wearing peasant-inspired patterned jump suits appear and their movement to modern techno and traditional chorale music mimics the wearing of chains or ropes. The intricate physical patterns they create enthrals.

Chairs, tables and mirrors are the setting for second piece Afterimage, choreographed by Brazilian Fernando Melo.

In inspired sequences, the dancers’ movements are repeated in the mirrors but are sometimes enhanced with virtual ghost images.

The interactions and movement explore a whole range of emotions, leaving the audience to create their own interpretations of a visually stunning and thought-provoking work.

With a change of gear, the concluding Revellers’ Mass — created by Caroline Finn and inspired by Leonardo DaVinci’s Last Supper — is a rollicking, ebullient piece, with the dancers at first subdued as they light 13 candles along a table representing Christ’s disciples.

The dancing, a mixture of classical, contemporary and traditional, is joyous with the dancers partnering mannequin-like statues until disaster strikes in the stunning finale.

Watch out for future performances of Awakening — it is utterly brilliant.