The great thing about Richard Alston is that you feel you're in safe hands - you go to the performance expecting to enjoy it, and at Wycombe expectations were justified. There is a lot of new blood in the company - six out of the ten dancers joined in the past year, but somehow Alston has fitted them together, and into his style and choreograpy, so successfully that you can't see the join. This was clearly visible (or invisible, if you want to be pedantic) in the course of two serious and demanding pieces, followed by a lighthearted confection to the piano rags of Scott Joplin.

In Red Run, Heiner Goebbels's extraordinary score immediately sets a tone of angst as it groans or keens, rumbles, throbs, squeaks or shrieks, with jazzy sections rising from the mlange of contrasting sounds. The cast are perhaps fleeing, traversing some unknown open space. Peter Furness leads the six dancers on in a vigorous solo, after which comes a series of dances in which there is a sense of travelling. Two men writhe together but don't seem aware of each other, there is a slow section in which, to quote the programme: "the music subsides into a morose and humid torpor". Here we find all six on the floor, almost motionless, before another frenzied section leads to a final anguished solo from Sonja Peedo, leaving her alone, lying - perhaps dying - on the stage.

Volumina takes its title from one of the organ pieces by the Hungarian composer Gyrgy Ligeti to which it is set. Instrumental sound is altered electronically into great swathes of organ music, backed by other elements. There is a strong feeling here that, as so often with Alston, the music was the inspiration for the work. The dances fit well into this background; indeed, at times the dancers almost become the music.

Finally, The Devil in the Detail, some jolly dances to Scott Joplin, with pianist Caleb Fawcett on stage at his piano. After the heavy - albeit impressive - fare so far, this provided a light souffl of a dessert, with the whole company on stage, and Rose Sudworth particularly notable in her happy performance.