This evening we went to Les Halles de Schaerbeek to see a double bill from the Company Moussoux-Bonté. The main piece, Les Corps Magnétiques, is a brilliant idea that somehow fell disappointingly flat. Besuited men and party-dressed women in high heels strike various poses on the stage, each with a cocktail glass in hand. Couples and groups form and unform, mimicking the dynamics of a party, perhaps. But it rapidly becomes clear that there are deeper and darker forces at work. There are rejections and acts of dominance and submission. People crawl across the stage or storm off of it. It is, say the programme notes, ‘between humour and oddity, an allegory about the impossible and necessary community.’ So far, so good, and the piece, if it had lasted ten minutes, would have been very powerful. But by the conventions of our day and age the main billing had to last longer and, the longer it lasted, the more it seemed to repeat itself and the less force it had. About half way through the piece the dancers strip to bathing costumes and bikinis and go through it all again. I don’t want to pan this piece and I am glad I saw it, but the contrast came with the first half of the bill, Kefar Nahum, where Nicole Moussoux herself performs a brilliant mime on a darkened stage, bringing to life a series of everyday objects. Put it this way, if you could only see one, take the Kefar Nahum.