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dance/Israel

OCD Love

L-E-V

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Australian Premiere / Exclusive to Adelaide

  • About

    L-E-V will be performing two works at Adelaide Festival 2017: Killer Pig and OCD Love.
    For details on Killer Pig, CLICK HERE


    After 23 years with Israel’s Batsheva Dance Company, principal dancer and choreographer Sharon Eyel decided to forge her own creative path. Teaming up with Tel Aviv rave party producer Gai Behar and several Batsheva dancers the “offshoot colony” L-E-V (the Hebrew word for “heart”) was born and found a stylistic voice all its own. Technically staggering, spine-chillingly sexy, and performed to deep, pulsing grooves from techno pioneer Ori Lichtik and indie band The Knife, this is the new edge of contemporary dance.

    OCD Love, a tantalising and erotic exploration of lovers always just out of synch, was born of Eyal’s fascination with slam-poet Neil Hilborn’s famous recitation of the same name, the internet sensation about how his obsessive-compulsive disorder simultaneously fueled and tore apart the love of his life.

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  • Credits

    Creators Sharon Eyal and Gai Behar
    Sound Artist Ori Lichtik
    Lighting Thierry Dreyfus
    Costumes Odelia Arnold in collaboration with Sharon Eyal, Gai Behar, Rebecca Hytting and Gon Biran
    Dancers Gon Biran, Darren Devaney, Rebecca Hytting, Mariko Kakizaki, Shamel Pitts and Keren Lurie Perdes

    In co-production with Colours – International Dance Festival – Stuttgart, Germany, Sadler’s Wells – London, England, Caroline Performing Arts – The University of North Carolina at Chapel Hill, SA, Julidans – Amsterdam, Netherlands and Montpellier Danse. Developed through a Performing Arts Residency at The Banff Centre, Canada. With support from Mifal Hapais and The Israeli Ministry of Culture and Sport

    Images Regina Brocke

  • Learn More

    Reviews

    The Guardian (UK) | The Times (UK)

    Videos

    Watch the Trailer


    Artistic Directors Neil Armfield and Rachel Healy preview L-E-V


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“Exudes sensuality both delicate and fierce... the dancers emerge as the ones in control, with an almost mystical hold over their audience”

Time Out

“Eyal’s choreography has a grave beauty. It’s hard to hold out against the seduction and blessed submission that she offers”

The Guardian

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