Together on the dance floor, the three dancers sway lithely, snaking around one another, curving and arching their spines, alternately wavering and burning intensely. Kestelman watches Kela – her own, younger self or a misremembered memory of herself? – dance with the two men as feelings are sparked and a relationship is kindled. Their fun, smiling ménage à trois is quickly filled with jealous glances from Przytarksi while Kela and Serrats play out a passionate relationship on the brink of violence.

Finally, a striking moment of self-recognition springs up between Kela and Kestelman, before Kestelman is left alone once again, looking back at her memories across the divide. A line of real fire, lit by Przytarksi in the final moments, blazes along the back wall as the story plays out. Both its light and heat are reflected by the mirrored wall, and the ending of the piece is hot (literally) and intense.

Dance and poetry in Essakow’s fiery IGNIS

I hadn’t heard of Essakow, nor of the Print Room (Notting Hill) before, but this piece was certainly worth taking the risk. I would definitely recommend it. It had real fire! Click on the link in the title to read my full review.