Current Issue #488

Review: Killer Pig

Review: Killer Pig

Choreographed by ex-Batsheva Dance Company’s principal dancer, Sharon Eyal,  L-E-V (the Hebrew work for “heart”) perform two works at the Adelaide Festival this year, the first of which, Killer Pig, is a pulsating, grinding and menacing work that is physically demanding, relentless and technically astounding.

Killer Pig is militant in what it demands of its dancers. The five-strong troupe has an emaciated, tender and stripped bare aesthetic. They are expressive and extremely competent in their depiction of Killer Pig’s grotesque and breathtaking world.

The music is developed by renowned techno producer Ori Lichtik and indie band The Knife and it generates the mood of the piece. The beat transforms but has no break; the audience and the dancers alike are unable to catch a breath.


Killer Pig follows no linear storyline and moves through an abstract consideration of the human experience. Eyal’s choreography is blurry, elemental and cuts underneath the artifice and in this world she creates a piece of where there are pockets of feeling: sadness, elation, loss and battle.

The dancers move with the mood, but are steadfast in their concentration and delivery. They are brave throughout: the piece is delivered seamlessly and with strength and we are immersed in the Killer Pig world just as they are.

Killer Pig is contemporary, innovating and baffling. Eyal’s creation is one of devastating beauty, restraint and ultimately, a new understanding of the human experience.

L-E-V’s Killer Pig was performed at Her Majesty’s Theatre as part of Adelaide Festival on Saturday, March 18 2017.

Photography: Shane Reid

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