The man himself may not be in the building – he’s at his company’s centre in Brooklyn – but Mark Morris is a choreographer you can spot not just intellectually, but physically in the dance on stage.

Three Preludes, a solo delight set to Gershwin shorts for piano, was originally danced by Morris himself. Now Bradon McDonald is the hoofer in the white gloves and tux-suit, and if he doesn’t match Morris in height (or bulk) he has the brio that catches the mercurial mood of the music and the wit and sophistication of America’s razzle-dazzle show-time.

Morris is recognisable too in the male solo at the heart of Italian Concerto, where the dancer’s motifs of weighty, straddling steps and pendulum-swinging arms are as much in tune with Bach’s music as the hip-flicks and springy skips found in the duets that bookend the solo. Again, Colin Fowler’s piano playing is a resounding pleasure in its own right. So too are the Schubert songs that underpin Bedtime, where a lullaby sung by mezzo-soprano Emily Steventon conjures a sweet dream-time where bods in jim-jams are hushed and led towards a slumber that might, in the final image, be an eternal sleep.

There’s no nodding off, however, when Grand Duo hits the stage. Lou Harrison’s pell-mell outpouring of vehement piano (Fowler) and violin (Georgy Valtchev) is answered by a fiercely athletic ensemble ablaze with an intense, visceral energy.

Star rating: ****