They have returned to London’s midtown Cochrane Theatre, as Director Cassa Pancho told me, “due to popular demand”, though she also said she was nervous about whether the audiences would really back up the theatre’s convictions. She needed to have no such worries as the sizeable crowd on the opening night were at least as enthusiastic as they were during the first run in October last year.

The programme on show is identical to the one on display back then, with the same four short pieces, costumes and musicians. The dancers have been supplemented with two new men who joined up only in January - New Yorker Neil Totton, on a short term assignment now but who was an original member back in 2001, and Jeremiah Tatum, whose diverse performing career has included working with Alvin Ailey Dance Theater.

Tatum replaced previous performer Silvestre Sanchez in the opening piece, A New Beginning, and made a fitting partner for standout Celia Grannum, his noble demeanour and physical talents an ideal match for her – together they provided the sparks called for by the choreography during the first, upbeat and warmly lit, section. The second, adagio, section was showcased by cool blue lighting and a full moon projected backdrop, with the dancers led by the beautiful Cassa Pancho whose qualities of elegance, inner grace and serenity were reflected by the others.

The second piece, Elégie, opens casually with the pianist Gwilym Simcock and French Horn player Paul Robinson walking across the stage from left to right, Robinson carrying his instrument and starting to play when half way across. Floating grey chiffon strap dresses for the women and slashed grey trousers for the men, with powdered pink highlights, along with Poulenc’s Elégie as a soundtrack, makes for a – well, elegiac experience, quite ethereal at times but always musical and interesting. The dancers form different combinations – three men, solos, all five, pas de deux – through the piece and it was our first look of the evening at Neil Totton who gave a solid performance and looked a reliable partner. Elégie ends with the women leaving behind their colored underskirts – it must be the jetlag but that metaphor escapes me.

After the interval was Pas de Trois, the whimsical light comedy featuring a white chair, Denzil Bailey and Florence Kollie, of the sparkling humorous eyes, warm personality, red dress and very green shoes. I asked for more sharpness to the physical comedy last time and was pleased to see that it was certainly turned up a notch. The audience gave this the most rapturous reception of the evening, and even the chair got a cheered curtain call.

Finally, The Boogaloo Rooms, featuring the superb Ballet Black Jazz Quartet, was the same cheerful jazzy composition as before, showcasing some very appropriate choreography from Pancho herself – how pleasing it is, for a change, to watch some upbeat jazz-ballet dancing to some very danceable music. In marked contrast to the first run I found this piece the only one to markedly feel as cramped on the small stage as last time – either I have gotten used to the works and lost that interesting “fresh eye” or the company have adjusted well to the space.

So my exhaustion was held at bay easily and I naturally wanted more – there is only around 60 minutes of actual material in this show. In such a small company even the slight change of dancers must have had a large impact on their ability to learn and produce new work, but an extra piece would have been appreciated. I think that something utilising the exciting partnership of Grannum and Tatum would be a great idea.

I actually enjoyed this performance more than the last - familiarity breeding respect in this case. For an intelligent blend of quality music, costumes, lighting, uplifting dance and choreography you need look no further.