"Musicality" is a term that crops up in just about every review of Henri Oguike's choreography - the Traverse mixed bill by his eight-strong company shows why this word clings, like an adoring limpet, to his work. Oguike's musicality is far removed from the widespread notes ascend/ dancers go up, notes descend/ dancers fall to ground' variety. His is the visionary, inhabiting kind of response, where his mind travels inside the composer's phrasings and tempi then instigates movement ideas that just seem blissfully right.

Who would have thought that Vivaldi's violin concertos were such a hot-bed of turbulent emotions? Little Red looks below the surface elegance and witty caprice of the music to discover energies in tune with the seething envy, raging frustrations, bitching pique and gut-wrenching despondancies that drive a sextet of scarlet-clad minxes. The boldness of their flimsily sexy costumes suggests licentiousness, but Oguike's sharply controlled choreography - limbs flicking like knives, fingers signalling attitude - and the red "stepping stone" squares on the floor mean a cleverly fine line is drawn between secret desires and public image.

Tiger Dancing, a prowl on the wild side (to a thrummingly edgy score by Steve Martland) reinforces initial impressions that Oguike's lithe, meticulous dancers can do anything he asks - including go with the jazz flow of Iain Ballamy's live, on-stage combo for Green in Blue. Shifting moods flood bodies with green or blue light as Ballamy's music seems to possess the dancers, sending them strolling, rolling, cutting loose in flurries of adrenalised elasticity. Thrilling musicality - with Oguike's own sinuously graceful solo to music by Ali Farka Toure - is a further enchantment.