The evening opened with an enjoyable abstract piece by a group of five 14- and 15-year-olds of the theatre's youth residency company. Zena Winterbottom, Misha Clarke, Rachel Ward, Hannah Boone and Erin Foley have clearly worked very hard, and showed what they can do with a lot of charm.

The main event was Kompany Malakhi. My press release invited me to see "one of the UK's most advanced and progressive modern dance companies", leaving me feeling slightly guilty for not having heard of them. In the event, this turned out to be two solos by Kwesi Johnson (pictured) under the title Artikulate, with only the very briefest moments of anything that could be called dance, even though it becomes clear that he is a trained dancer. Having said that, what Kwesi provides is a very enjoyable show consisting mainly of mime, with a lot of talk - part explanatory of what is going on, partly banter with the audience. He is a hugely likeable performer, and grabs your attention straight away with his wide smile and engaging personality.

Body Language presents Johnson as be-suited salesman for "The Twenty Screen Plasma Dream", a bank of 20 screens which, he logically explains, enables you to watch for three seconds and get a minute of information. This is very funny, with the performer getting sucked into his creation and manipulated, so that his stuttering, jerking body reflects the confusion produced when so much varied information is delivered at the same time.

In Single Reflex we see him first at his ablutions, and then putting on a scarlet suit and tie over a white shirt. The aroma of his generously-discharged deodorant wafts pleasantly into the audience. He is extremely pleased with the result, and is off on a blind date. At a café table with the unseen girl, things don't go well. He descends from confidence, through embarrassment, to manic movement as the girl runs off. This is dance-theatre with elements of Chaplinesque clowning, and he succeeds in making you laugh at his predicament, while feeling his pain.