Anurekha Ghosh trained in the Kathak style of Indian dance, first in Calcutta, and then in this country, where she was greatly inspired by the wonderful dancing of Nahid Siddiqui, whose company she joined. In 2001 she formed her own company, but although it still incorporates much of the stamping and speedy turning of Kathak dance, what she is producing now is a fusion of Indian and Western dance, with a cast - in addition to herself - hailing from Japan, Ireland and The Netherlands.

The Pegasus Theatre is one of the sponsors of the new, full-length work, Noor, which means light' in Urdu, and what Ghosh has provided is a complex mixture of styles and media - with film projection, an on-stage narrator and a cellist, Alfonso Esposito, who is also the composer of the very atmospheric music that forms a background to much of the dancing.

Ghosh says her quest is to explore the many ways in which light is essential for the survival of all organisms on earth, and the result is a sometimes difficult, but also often rewarding series of dances loosely linked to this theme. We start with a solo by Yuko Inoue, her small body made vastly pregnant by a football under her T-shirt. She gives birth in an anguished series of writhings. This leads to a series of scenarios under various headings.

For me the most pleasing is a long duet in Desert', featuring Titania Hanrahan and Yentl de Werdt, in which Ghosh takes us into the realm of martial arts, with the pair engaged in a violent duet which is as much a battle as it is a dance, while Inoue, in the background, pours thin streams of sand to produce a mysterious design on the stage. Also satisfying is the long final solo from Ghosh herself, in she which she reverts to her Kathak roots, and shows us how beautiful the fluid precision of arm movements from this style can be, and how a basic simplicity of movement can be as effective as any more technically ambitious dance.