But Riley is not the only startling talent. There is also 22-year-old Caleb Lawrence Jackson, whose specialisms are tap and Chicago footwork, legs blurring as if infected with the dancing plague, everything on fast-fast-forward. And the entrancing Tomoe “Beasty” Carr (specialisms: hip-hop, house, waacking), who moves like a bolt of mercurial lightning that’s still deciding where to strike.

As you can tell from this lineup, The Center Will Not Hold is not just a tap show. It draws on a wealth of dance styles that have emerged through Black street and club culture – the knotty footwork of Detroit jit is another, and there’s even some swing – and has live percussion from John Angeles, getting in the midst of things with his electric drum pads slung round his shoulders.

With all this explosive talent, however, what’s interesting is that the show is deliberately low-key: a shadowy stage, a simmering score, a rhythm that quietly gets under your skin. In solos and duos, technical genius flares and recedes. There is an element of holding back, even in the sound of their shoes – Dorrance’s taps are mellow and fluttering (there’s a choice about how they mic this stuff up, and the type of floor). It’s a decision not to be sharp and bright and starry. It’s not showboating but showcasing, both the evolution of dance forms and a compelling cast of performers.