A recent show by highly-acclaimed choreographer Michael Clark left a lot to be desired.

His dancers seemed, at times, unable to properly master complicated moves and synchronicity.

So at former Ballet Rambert artistic director Richard Alston's show, I expected much of the same and was rewarded as such during first piece, Volumina.

Performed in a similar style of ballet to that used by Clark, the dancers moved around the stage in a mysterious, mechanical manner.

However, the difference between the two shows was instantly clear.

To say that Alston's crew made Clark's dancers look amateur, would be a gross understatement.

Such was the strength of this piece that I was almost scared at one point when, standing perfectly still, two dancers opposed each other menacingly while a single, thundering organ note crashed out over the venue.

Unlike Clark, Alston's second piece, Such Longing, provided a change, as dancers delicately glided around the stage in time to pianist Jason Ridgway's beautiful renditions of Chopin works.

Lastly, colour was injected, not only into the co-ordinating costumes, but also into the dance itself. Gypsy Mixture - an uplifting piece set to re-mixed world music - featured more contemporary moves, cheeky touches and even the inclusion of barking dogs within the soundtrack.

A special mention must be given to the dancer I assumed to be Martin Lawrance.

Now currently choreographing pieces of his own, Lawrance moved himself across the stage with jawdropping agility in this final piece, leaping through the air in acts of unbelievable grace.

Choreographer Richard Alston stands out among his peers with his ability to create visually effective human shapes and to successfully portray his own interpretations of the music.

But it was the disciplined effort and sheer skill of Alston's protg dancers that resulted in such a truly inspiring and breathtaking performance.