Recreating The Rite Of Spring is no easy task. Not only are previous interpretations of it legendary, but so, too, is Stravinsky's powerful score.

In 1911, it marked a revolutionary departure from musical norms and any interpretation of it carries this radical legacy with it.

Angelin Preljocaj's answer to this legacy is sex.

Problematically, it is interpretations of sex that are radical, not sex itself, which is not the situation here.

The piece opened with six women, watched by six men, sliding their knickers down from beneath very short skirts like girls in a strip show.

A hackneyed, cheap trick; the rest of the show was spent wondering if they had another pair on underneath.

Titillation as a theme continued as the men were drawn to the women in a tit-for-tat sexual taunting in which the women, as virgins had, ultimately, to lose.

This climaxed in the group stripping one of the women naked and watching her dance in a joyless, metaphorical orgasm.

Still, this rather outdated rendition of rising sap was reasonably well portrayed.

The sense of the women's sexual naivet was tightly choreographed and the men were convincing as a dangerous breed which, pushed too far, would elicit consequences.

But as an overall piece, things dragged. Even the final scene lacked impact.

Proof perhaps that sex itself is not necessarily radical, particularly when it relies on a woman taking her kit off on stage.

Review by Louise Ramsay, features@theargus.co.uk