The line between on-stage and off-stage, performer and audience, is one of the last true binaries. It’s part of theatrical culture: the show must go on; make ‘em laugh but never let ‘em see you cry. Perform, bow, repeat, never the twain shall meet.

The genius behind Overture is to blur those lines. Set in the beautifully broken-down, almost eerie spaces of the Queens Theatre, we follow four principal dancers through their pre-show preparations. The starlet, the manager, the hopelessly romantic bartender and the cleaner are all present and correct, and while those are the tropes we might expect to see, that’s kind of the point. Their familiar stories weave together with the spaces, making an instantly clear narrative. What’s different is the way Overture chooses to tell the stories, with precise dance that inhabits each individual space, as we move from bar to dressing room to backstage (fully set for this evening’s production of Hedwig And The Angry Inch). Just when you think you’ve got the measure of it all though, a final scene astonishes: a huge ensemble enter, turning the tables on the audience, with delicious choreography that feels exactly right. A real treat for dance fans and those who’re dipping their toes in the water of dance alike.