Choreography by Sidi Larbi Cherkaoui
Review by Dominic Corr
Darkness yields to a luminous, transcendent space of remembrance as Sidi Larbi Cherkaoui unveils his monumental creation, Ihsane, across the expansive stage of the Festival Theatre. Drawing its name from the Arabic concept representing moral grace, beauty, and selfless benevolence, this UK premiere operates as an exquisite, soul-stirring requiem. Rooted in dual griefs – the tragic, targeted homophobic slaying of Ihsane Jarfi in 2012 and the passing of Cherkaoui’s own Moroccan father – the piece transforms immense personal anguish into a soaring, universal testament to human resilience. It is, without a doubt, the highlight of the Edinburgh international Festival 2026.
What unfolds across this breathtaking evening is an extraordinary fusion of movement, live music, and architectural design. Performing with the Ballet du Grand Théâtre de Genève, an ensemble of eighteen dancers navigates a hypnotising movement vocabulary. Classical balletic lines seamlessly dissolve into contemporary floorwork, whirling devotions, and bursts of street-dance acrobatics. Bodies gather, coil, and recoil in ritualistic patterns, using heavy Persian rugs as shrouds, animalistic hides, and sacred altars; a striking moment of collective nudity strips away societal boundaries entirely, offering a profound image of shared vulnerability and ultimate liberation.
The sonic and visual architecture is equally miraculous. Framed by grand arches, stained-glass light-shafts, and calligraphic flourishes, the production is driven by an incredible live musical ensemble. The mournful resonance of the Baroque viola d’amore mixes with pulsing percussion, strings, and haunting Berber chants, forging a soundscape that feels both ancient and urgently contemporary.
A series of false endings slightly fractures the dramatic momentum before the final tableau settles. Furthermore, brief passages of spoken dialogue in French and Arabic might have benefited from surtitles to fully anchor their narrative nuances for English-speaking spectators, but in reality, it’s refreshing to have this detachment for audiences who can still come to terms with the emotion communicated; even if language loses them.
Yet, these are trivial observations alongside such overwhelming artistic grandeur. When a gleaming golden shrine descends from above to bathe the auditorium in candlelight, Ihsane leaves its audience fundamentally altered. It is a masterpiece of profound emotional gravity, a triumph of radical compassion that shines as a beacon of hope against the darkness of world conflict
A Triumph of Radical Compassion
Ihsane ran The Festival Theatre until August 20th
Photo credit – Filip Van Roe
Review by Dominic Corr (contact@corrblimey.uk)
Editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
