I have an uncle who famously hates olives. Thinks tapenade is the devil’s work. Won’t eat anything an olive has touched. Won’t have olive oil on his salad or even eat pizza. But about once a year he’ll look at the olives on someone else’s plate and ask if he can try one, “just to see if I still don’t like them”. Usually you don’t notice rules too much so I try to remember the olives whenever one becomes apparent. Just because something stood the tests of a year, or ten, or even a hundred, doesn’t necessarily make it an eternal truth.

Going to see Michael Clark has always had the same feel about it as going to a gig, partly because of his choice of music and earlier associations with The Fall, and partly just because he’s a glorious bad ass troublemaker and you can’t help but be excited about what he might do next. Yesterday was the opening night at the Barbican of his extraordinary Stravinsky Project - a choreographed trilogy to the composer’s Apollo, The Rite of Spring and Les Noces.

Featuring versions of Leigh Bowery’s toilet costume, a topless woman with a Hitler moustache, and a knitted wedding dress in the shape of a condom (a 1965 Yves Saint Laurent creation), Clark always manages to elicit laughter from an audience.

Just like I am Kurious Oranj (see video clip), these three pieces are performed to live music with the Britten Sinfonia and New London Chamber Choir adding to the electricity. You don’t just watch his dancers perform, like you don’t just listen to live music; it’s an all-encompassing experience. When it’s good, as it was last night, you can feel your brain open up as if you’ve got a flip-top head with lots of torches inside jiggling their lights around the room.

He makes fleeting appearances in his own productions these days but this provides space to prove that his work as a choreographer is infused with the charisma and attitude that always made him so tantalising as a dancer.