Based on the writing of Scottish psychoanalyst RD Laing, Knots examined the emotional and physical tangle of love and relationships, using three sets of couples all called Jack and Jill.

While Laing was quite fashionable in the Seventies, it's likely most of the audience won't have been familiar with his famous book of poem Knots, and probably won't be tempted to investigate further based on the language used by director Liam Steel.

Dense and quite impenetrable statements such as "Jack wants Jill because Jack thinks Jill wants Jack to want Jill" provoked little emotional engagement and failed to evolve the many potentially interesting themes such as insecurity and brutishness.

But while the text was a little disappointing, the physical presentation of Laing's theories were an exhilarating rush of brilliantly executed ideas, cheeky risks and often hilarious twists.

Dressed in wedding finery, the three couples first appeared to us trapped inside individual glass-fronted booths, thrashing and writhing to a soundtrack of relentless dance beats.

Performed by Ireland's CoisCeim Dance Theatre, the movement was mesmerising and most striking during simple acts of symbolism.

Jill balanced on an empty pint glass after telling a distressing story of drunken sexual abuse and tap-dancing Jack became an aggressor revenged with bloody violence.

Weighing in at 90 minutes, the production felt too long and could be more powerful if packed into a solid hour.

But unafraid to delve into the dark and dangerous realities of modern relationships, Knots was a brave and exciting production which, with some editing and a more developed script, could have been as breathtaking as the movement which fuelled it.