© hkcp recent Daniel Yeung reviews more Natasha Rogai reviews Discuss this review (Open for at least 6 months) A version of this review previously appeared in the South China Morning Post.

Taking Chinese medecine and its view of the human body as theme, Yeung has fashioned a visually stunning piece, full of life and bursting with ideas. Four video artists were involved in creating the projections which form an integral part of the show, blending seamlessly with the dance and becoming part of it. One magical sequence sees Yeung transformed by lighting into a living version of a Chinese medical diagram of the human anatomy. Another outstanding moment sees him transformed into an image of Saint Sebastian, riddled with acupuncture needles in the place of arrows. The set (designed by Yeung himself with Priman Lee) is equally part of the action, with walls moving into different positions and black curtains at the back which open and close vertically as well as horizontally to create the image of a diminishing or expanding screen.

There are Cirque du Soleil like effects where Yeung floats upwards to the ceiling as if levitating and a hallucinatory moment when he appears walking upside down above the stage like an astronaut in space.

Medi-C is a superb example of multi-media collaboration, but it is also a dance piece and Yeung proves himself to be an inventive choreographer and a fearless, mesmerising performer. In keeping with the Chinese medecine theme, the choreography is influenced by tai chi. The movement is flowing, organic, at times acrobatic and consistently original. It is hard to believe that Yeung only started dancing at the age of 29. Perhaps his lack of formal dance training has given him greater freedom in how he moves and approaches dance, while his background in the visual arts is apparent in the striking images he creates. His unflagging energy in carrying this solo piece is admirable.

Yeung communicates warmly with his audence and there is much humour in the work, although it ends on a sombre note as he runs naked around the stage while images of some of the darker moments from China’s reecent history are projected behind him. The message presumably is that nations, like human beings, sometimes require healing.

The evening was a triumph and was greeted by a well-deserved ovation from the audience. As well as Yeung himself, kudos are due to everyone involved : Christopher Lau, Guy Cheung, Adrian Yeung and Chan Man-chun for video/visual design, Priman Lee for set and lighting and Samson Young for music/sound design.