Cacti joyfully skewers pretentious critics In Alexander Ekman's witty and effervescent piece, the dancers strip down to basics and pose with cacti. Picture: Peter Greig Source: Supplied DANCE De Novo Sydney Dance Company. Choreography by Rafael Bonachela, Alexander Ekman and Larissa McGowan. Sydney Theatre, March 1. IF Alexander Ekman is true to his program note, he won't read this review, or any other. It's a shame, because I'd like to let him know how much I enjoyed Cacti. Perhaps someone at Sydney Dance Company will pass the word on, but then perhaps he doesn't care. Cacti is, after all, a dance work sending up critics and what Ekman sees as judgmental intellectualising and pretentious dribbling on about meaning. In his half-hour romp, Ekman puts a cactus up the critical fundament in quite an extensive fashion - which may mean he really does care, in which case I might point out that cacti thrive in arid climes, and that Ekman did tell The Australian recently he thinks there's a lot of contemporary dance that's too self-absorbed. But enough of this theorising - Ekman has pulled off one of the most difficult challenges in dance, which is to be genuinely funny. Cacti is a delight: witty, effervescent, playful, surreal and joyously physical. The dancers, identically dressed in roomy dark trousers over flesh-coloured bodysuits and wearing hair-covering caps, at first kneel on low platforms and whack the platforms and themselves in an exhilarating display of energy, rhythm and co-ordination. Later they will strip down to basics and pose with cacti as if it were the most glamorous thing in the world to do. There's lots more besides, but this is a piece to see rather than read about. The 16 dancers are adorable, there's a glamorous string quartet that plays some of the score live, and there's a dead cat. Larissa McGowan showed last year in Sydney's Spring Dance festival (curated by Rafael Bonachela) that she, too, can cause mayhem in the theatre and it was a great delight to see her short work Fanatic given a larger forum. It's a riotous homage to and send-up of the Alien and Predator films and fans of the genre. Natalie Allen, Thomas Bradley and Bernhard Knauer reprise their roles with gusto (there is also a second cast). De Novo opens with Bonachela's Emergence, a work in which equal power lies with the music of Sarah Blasko and Nick Wales, the terrific costumes from Dion Lee in his first dance outing, Benjamin Cisterne's super-sleek stage and lighting design, and Bonachela's dancers. You'll note I say the dancers rather than the dance itself. The movement language fits these gorgeous people like a glove but, for frequent Bonachela watchers, Emergence has no surprises. Bonachela has, however, an inexhaustible appetite for collaboration with intriguing artists from other disciplines. This may be his strongest suit. Tickets: $30-$75. Bookings: (02) 9250 1999 or online. Until March 23.