There are several wonderful moments in Torque, when we�re carried back to Enclosure 44, the remarkable and radical installation piece that Janis Claxton Dance staged in Edinburgh Zoo during this year�s Fringe.

Star rating ****

There are several wonderful moments in Torque, when we're carried back to Enclosure 44, the remarkable and radical installation piece that Janis Claxton Dance staged in Edinburgh Zoo during this year's Fringe. Playful moments, tender moments, fraught moments with hands becoming paw-like, heads cocking to one side, bodies hunkering as the dancers inhabited the power shifts and snugglings that Claxton had observed in her zoo researches.

Then, as now, the work was far from gimmickry or mimicry. Now Torque, with its live on-stage accompaniment - Bach's Partita No 2 played, but on viola, by Michael Beeston - reinforces the instinctive humanity that shares in how other animals behave. And on a wry note, it ends with the dancers staring out at us, as in a zoo. Which, like Enclosure 44, raises fascinating questions of why we like to watch, and maybe how we define art, performance, dance.

Rinne, a gorgeously airy piece, opens the evening. It closes on And Songs Are Sung, a lovely, elegiac response to Gorecki's recently released String Quartet No 3. This is profoundly haunting music, full of low, groaning chords and sparked with curious slip-slides between rollicking folk waltzes and off-kilter, discordant echoes of those happy tunes. Played live, with spirited caring, by the Edinburgh Quartet the score saw Claxton and her all-female company mark out episodes of patient waiting, anguished yearnings and wretched, wrenching despair. Yet there was also supportiveness, resilience, as bodies fell, curled into themselves, rose again, which spoke of life force and renewal.

Enclosure 44 won Claxton a Bank of Scotland Herald Angel. This programme proves her talent has wings.