There is no better reminder of the beauty and perfection of the human body than a dancer in full flight.

And there were none more beautiful or perfect than Phoenix Dance Theatre's amazing male dancers Yann Seabra and Errol White.

These two made the trip to the Gardner Arts Centre on an unusually cold April night well worth it.

They performed the piece Me And You, choreographed by Fin Walker who said: "I don't want to be prescriptive about the meaning of Me And You. The door is left open for each audience member to experience the work from their own perspective."

Like most of the audience, I was compelled by the intense physicality of this duet.

This dance was like capoeira without the lethal blows. The costumes, close-fitting, see-through sleeveless tops and butt-hugging shorts became more and more transparent as the sweat dripped off the men.

From where I sat, I could hear them breathe and see the passion in their eyes.

As the piece went on, it became more and more like the interaction of two spirits so transcendent was the movement.

Me And You was, for me, the highlight of the Leeds-based company's triple bill which also featured works by Jeremy Nelson and Darshan Singh Bhuller.

Nelson's piece, The Fact That It Goes Up will evoke memories for anyone who has experienced rush hour in a big city. Douglas Henderson's urban soundscape of subway noise, horns and traffic, the grid-like backdrop and the dancers' funky urbanwear helped to bring the order and disorder of the city to life.

Some of the movements were a bit repetitive and, at 25 minutes, the piece seemed a tad long.

Football clips, mobile phones and digital cameras were all part of Dharsan Singh Bhuller's finale piece, Requiem.

This piece - Dharsan's first for the company since becoming its artistic director in spring 2002 - revolves around the tragedy of a missing child and explores how the family and the community continue their lives in the face of this experience.

At 45 minutes, Requiem should have seemed long but it wasn't. It was memorable for the moving depictions of grief, joy, love and anger.

Particularly striking was the use of film clips of happy family times against which the dancers played out scenes of grief, blame and anger.

Dharsan also deftly illustrated how life moves on with segments showing footy fans enjoying the World Cup and a couple enjoying the thrill of love.

Review by Franka Philip