City Contemporary Dance Company Studio Theatre Hong Kong Cultural Centre Reviewed: May 21 Stranger Than Fiction shows how collaborating with innovative overseas choreographers can challenge local dancers and keep them on their toes. This performance comprised two parts: the first by Phillip Adams, artistic director of BalletLab in Australia; and the second by City Contemporary Dance Company resident artist Xing Liang. Adams' new work grabbed the audience's attention almost immediately. Heavy beat music by Robert Giffin Morgan and Garth Paine launched the dancers into motion: the bodies quickly entwined in precise, synchronised and busy movements simulating the Japanese art of origami. Symmetric and aesthetically pleasing, the piece was performed exactly as Adams described in his programme notes: 'The sequences or the choreographic patterns consist of complex architectural partnering that directly correlates to origami instruction manuals.' The recurring theme was of folding and unfolding: whether of paper, tatami that covered a third of the stage, a camping bed sheet or human limbs. The pace of the show slowed and its mood darkened for Xing's contemplative and personal piece, which comprised mostly solo performances. The sober tone, the monochrome costumes and the haunting music by Kung Chi-shing reflected the choreographer's thoughts and feelings about death. The work reached its climax when a sheet of dry ice showered down at the back of the stage. Technically, Adams' brilliant piece was the more demanding - and could have been more smoothly executed. Guest performer Rachel Arianne Ogle and Xing were more physical and stood out with their clean, confident movements. Xing's piece focused on his emotions and feelings. The eight dancers, Kung's music, Silvio Chan's costumes, Gabriel Fung's lighting and Ewing Chan's stage design all blended well to make this half of the show a moving experience.