Musicality is the watchword, the key to everything Richard Alston's company does, even when, as in this programme, the dancers are following another choreographer's steps and intentions.

Actually, seeing Martin Lawrence credited with the making of Grey Allegro was almost shocking: since Alston formed a company and put his own name on it (in 1994)

no-one else has choreographed a single exit or entrance on his dancers. Lawrence, however, has been part of the group since 1995

- he was appointed rehearsal director this year - and is clearly in step with Alston's own tastes.

Like Alston, he takes an inspirational charge from the music, in this instance a set of keyboard sonatas by Domenico Scarlatti that run

with fiercely rapid rhythms - the

on-stage pianist Jason Ridgeway accounted for them with nimble elan. There are delicious turns of speed, too, in the dancers' movement: nifty spins and fleet passes. But there's also a clean-cut, unhassled feel to Lawrence's accumulation of motifs, a purposeful structure that begins and ends on similar lines without lapsing

into predictability.

The programme begins and ends with choice works by Alston: Brisk Singing (1997) and the recently premiered Overdrive. Both pieces visibly revel in responding to the intricacies of music as apparently disparate as Rameau's baroque choruses (in Brisk Singing) and Terry Riley's rolling, repetitive phrases - his Keyboard Study No 1 ignites a whirlwind of leaping and turning, in which even the floor shifts from pale grey to profound purple or radiant blue-green.

All 11 dancers - variously costumed in grey and red - possess the space in relays, adopting and adapting one another's moves with a finesse that is so precise and yet seems utterly spontaneous. No wonder they got umpteen curtain calls: a brilliant triple bill.