THIS company is on the move, in every sense. For a fortnight it has split in two, half covering the south-west, half in the north-east, visiting Hull, York, Durham and Middlesbrough.

It is also breaking new ground, premiering a setting by Michael Kopinski of Stravinsky's Dumbarton Oaks concerto for chamber orchestra.

Appropriately enough, since its male principal is Hull-born Robert Parker, it received its first performance there on Tuesday.

Against a backdrop of hugely-magnified flora, the dancers emulated frolicking insects, their movements often robotically in tune with the composer's neo-Baroque clockwork.

The slow movement offered the central pair - Parker partnered by Elisha Willis - an opportunity for smoother, more lyrical gesture.

The action was crisply buoyed up by sixteen members of the Royal Ballet Sinfonia, under Paul Murphy, though this was profligate scheduling, given that they were not required for the remaining three-quarters of the programme.

Frederick Ashton's Monotones II moved languidly to Satie's Trois Gymnopdies, fluently played by Julia Richter in its original piano version.

Asta Bazevicite was regally compelling as the fulcrum of three dancers, with Jonathan Caguioa and Valentin Olovyannikov in close, eventually whirling attendance. Parker and Willis were unable to conjure quite the same magic for the second Stravinsky-inspired piece, Duo Concertant, to choreography by Balanchine.

The finest male dancing of the evening came in the centrepiece of Hans van Manen's Five Tangos, settings of Astor Piazzolla played here on tape. Iain Mackay's solo was impeccably poised despite rapid, taxing jumps. Miss Bazevicite was especially sultry when partnered by six men. Tickets were understandably in very short supply for today's two performances.

Updated: 09:57 Saturday, April 23, 2005