Theatre Royal Brighton's determination to be more than simply a receiving house manifests itself not only in the creation of its own productions but also in its associate companies scheme.

Under this programme, the theatre is forging deep relationships with major national companies, including the Rambert Dance Company and English Touring Theatre, who enjoy residencies at the theatre and even use it to present world premieres.

"We're building a relationship with national and international companies," explains Theatre Royal Brighton Chief Executive Julien Boast. "So we don't have a passive role of only selling tickets.

"Some of these companies are with us a week for every year, so really, why wouldn't you start thinking about what you can do together?

"I went to see Mark Baldwin at Rambert about four years ago, and at first he probably thought I was rather strange. But it seemed bonkers not to do things together, to develop the relationship, when the company had been coming here for 75 years.

"Now we're at a stage where Rambert are doing world premieres here, and there's another coming this season.

"And what better company could you think of to have a home in Brighton?"

The forthcoming premiere is Anatomica #3 by the Canadian choreographer Andre Gingras, to be performed by Rambert on February 23 (more info on page seven).

It is the latest in a long line of world premieres over the past 25 years that have included work by such internationally renowned figures as Richard Alston and Merce Cunningham.

As Rambert's Artistic Director Mark Baldwin explains, it's a relationship the company cherishes: "Rambert Dance Company has been coming to Theatre Royal Brighton since 1939 and it is great that we keep coming back there with brand-new works which say something about the times we live in.

"As a reflection of our close relationship, we are delighted to be presenting the world premiere of Anatomica #3 during our 2007 visit, which I am very excited about."

Certainly, Rambert is no stranger to Brighton and to Theatre Royal Brighton in particular - the current season will be the company's 23rd in the building. Yet never in its 80-year history has the relationship between the two companies seemed so close, and it is growing year on year. Theatre Royal Brighton's relationship with English Touring Theatre works along very similar lines, as ETT Artistic Director Stephen Unwin explains: "We're a company without a theatre, so it's very important for us to establish relationships like this.

"We have relationships with a couple of other theatres around the country, but I wouldn't say they were anything like as developed as that with Theatre Royal Brighton.

"We've taken maybe six shows to Brighton," he continues, "and we're beginning to develop an audience there, rather than just coming into town for an evening like a kind of one-night stand, if you'll excuse the expression.

"It also takes some of the hardcore commercial considerations out, because if we've had one show that's really great for business, it means it doesn't matter as much if another show doesn't do quite so well. It sort of balances out."

As well as Rambert and English Touring Theatre, Theatre Royal Brighton has also been developing a strong links with other companies around the country, including National Theatre On Tour, a relationship that results in regular performances of cutting-edge work.

Locally too there are strong relationships with artistic groups of all shapes and sizes, from the Brighton Festival to small but highly acclaimed companies such as Zygo, Spymonkey and DreamThinkSpeak.

It was Zygo who were responsible for The True History of the Tragic Life and Triumphant Death of Julia Pastrana, the Ugliest Woman in the World - memorable not only for its lengthy title but for being performed entirely in the dark. DreamThinkSpeak, meanwhile, were behind the equally successful Underground, a promenade production that wowed audiences and critics alike.

Felicity Harvest, executive director of Arts Council England South East, points to Underground as, "A brilliant example of a piece which could never have been commercially viable, because the audiences went around in such small groups but which Theatre Royal Brighton put on regardless.

"It's fantastic that they are happy to make that kind of commitment to the local community."