As it happens, I had been reading William Powers’ Hamlet’s Blackberry before I went to see Christos Papadopoulos’ Larsen C, a work created in honour of the huge Antarctic iceberg which broke away from its motherlode in 2017 and is itself splintering alarmingly as it moves around the globe.

Sitting watching an iceberg move might be likened to watching grass grow, and certainly, Papadopoulos’s work, although awarded prizes, has drawn boos from some audiences and elicited boredom from some critics. But I found myself mesmerised by the incessant slow beautiful movement of the exquisite dancers; my thinking drawn to Powers’ opening description in Hamlet’s Blackberry, which sees mankind as operating within what could be called the iceberg of this Digital Age. He describes us as milling about in an enormous box-like room with a billion people tapping on our shoulders here and there – not unhappy, but unable to leave the room or get away, find solitude, or, in effect, gather rosebuds.

And Larsen C has the same import, albeit without the mass of humanity. The six peerless dancers appear and disappear in the gloom of the immensely fascinating, always changing, grey set (Clio Boboti), their shadows prominent on walls...