Richard Alston Dance Company

Richard Alston is a towering figure in contemporary dance today, directing the internationally-renowned dance centre The Space alongside his own company. Tonight Richard Alston Dance Company present a repertory programme of new, old and historically significant work. This is complemented by expert live accompaniment, exquisite technical skill and involving choreography.

The first piece tonight is a new work by Alston, Unfinished Business. The choreography is extremely distinctive; musical, remote yet moving, a meditation on movement with an emphasis on technical accuracy. Accompanied by a late Mozart piano piece, profoundly played by Jason Ridgway, the atmosphere created is deceptively casual, yet subtly affecting. The studio space set up with piano and dancers on stage together creates a brilliant intimacy. Alston's choreography is greatly lifted by the live music, the dancers in constant negotiation with the technicality of the steps and the dark, emotional yet formalistic music. The movement itself is energetic, vivid and restless, giving the piece an emotional hallmark and steering it toward something fluid but challenging.

In Memory choreographed by Robert Cohn stood out tonight as the undisputed highlight. Cohn is largely responsible for introducing contemporary dance to Britain, through the formation of London Contemporary Dance Theatre. With unobtrusive mastery this thoughtful piece about memory and déjà vu weaves powerful, strong movement with breaks and flourishes of mesmerising ebb and flow. It's the contrast of vigour and intimate diversion which make this piece so gorgeous. Andres de Blust-Mommaerts particularly impresses, but the whole company embodies a glorious energy and spirit. It's remarkable how versatile this company is, and a joy to see this work of genius given exposure with such faithful care.

Finally Roughcut; an Alston classic. Again adopting a casual studio feel, the dance is striking and enjoyable, but despite its conceit as a rough-and-ready ensemble piece it's a little too distant to be overly moving. Accompanied by electric guitar (James Woodrow), clarinet (Roger Heaton) and tape, this Steve Reich 'counterpoint' is indicative of the dance it inspired; repetitive, immediate and minimalistic. The company dances with fascinating strength and ability, however this piece feels slightly verbose and disengaged. Alston is evidently a choreographer still making creative headway, leading a company of exceptional character and dynamism. Although some pieces lack his blazing originality, this is still a company which demands respect and attention.