Happy As Larry opened with one solo performer on stage, scrawling on a giant wall. His scribbles transformed wittily into functioning objects – switches that set in motion an exciting series of lighting cues, filling the space with shapes and shadows, illuminating the vibrantly coloured balloon arch which framed the stage.

It was an opening so full of promise the stage looked set to explode. As the full nine-piece company appeared, costumed in street wear, it was exactly what the publicity heralded: exuberant, dynamic, cute, quirky and all very “street”.

Infused with street dance, breakdancing, basketball and roller-skating, the feel is ultra accessible. The choreography is joyful and uplifting, pitched somewhere between an episode of Sesame Street and a Gap advert.

But then it broke away, the ensemble dissolved into a series of solos and duets – an exploration of psychological personalities. It was here that the choreography was most gripping; the versatile and talented dancers were afforded the space to explore their own physicality and presence. While this section undoubtedly had moments of great physical skill seasoned with theatrical humour and clever design, it was at times laboured and unfortunately the overall pace began to drag a little.

All was forgiven in the finale, as the clever set transformed into a giant 1980s-style ghetto-blaster, delivering a thumping soundtrack which set the pace for the full ensemble to storm the stage once again in a tight adrenaline-fuelled spectacle of energy.