The Dorking Halls are not perhaps a classic place for dance. There is quite a rake on the stage for the dancers and much of the audience is seated on the flat which inevitably gives some difficult sight lines. But the place was packed to capacity with the old and the young, the well dressed and the less so. I always love getting away from the poshness and superior air of some London events and seeing 'real' folks enjoy dance. Nice to report that Jonathan Still (Musical Assistant to Mr Sleep(!) and ballet.co contributor) had obviously made an effort and looked very dapper in his black tie.

Sleep's dancers are mainly quite young and for the most part Royal Ballet School trained or associated with the City Ballet of London. You might recognise the odd face if you have been to some of the recent RBS performances at Holland Park or seen students perform with either of the Royal companies. Although not necessarily planned this way initially, they make a good troupe with a mixture of sparkle from Sleep and his 2 principals, coupled with the freshness and exuberance of the younger dancers. Perhaps the nearest equivalent is Margaret Barbieri's annual Images of Dance which tours with about 25 young dancers to great effect. But Sleeps tour, while having only half the dancers has many more pieces and perhaps more 'dash' (no pun intended) and instant appeal.

The classical excerpts, scattered throughout an evening of 12 pieces, are from "Romeo and Juliet" (the Ben Stevenson production), "Sleeping Beauty" and the "Nutcracker". City Ballet of London's Joanne De Souza and Marius Els do the honours for most of the tour. Individually they are fine, Els being particularly light and open. Together I thought them a bit unmatched and ill at ease but the audience were appreciative. Perhaps it was more of an evening for the younger dancers who wowed us all.

I was particularly impressed by Nadia Sadiq who was happy, sharp, precise and completely assured in all she did. A petite (Viviana Durante?) dancer who really ought to be snapped up by a company immediately (if not sooner). Bernat Pascal, now with Scottish Ballet (and ex one of Barbieri's tours) also impressed with his technique and stage presence. Having praised two dancers its appropriate to say that all 9 young dancers did well and reminds one of just what dancing strength there is about and how competitive it must be for jobs.

Sleep himself is now nearly 50 and inevitably he is starting to slow up a little. But he can still turn like a top and his panache and artistry shine through. This and his personal introductions to many pieces endeared him to everyone. Sleep's "Chaplin Ballet", new to me, but which many in the audience seemed to know, was a good pastiche with lovely comic timing. Despite the risk of cynicism about Princess Diana and the press bandwagon surrounding her, it was impossible not to be moved by his tribute to her. Tasteful and gentle, it reminded one of just what they have both done for ballet and dance in the UK.

New works by William Kemp (the Adventures in Motion Pictures dancer) as well as by plus Michael Rolnick and Sleep were mixed in with excerpts from Ashton's "Les Patineurs" and "Savoy Suite", Sleep's piece for English National Ballet which I missed before. More good stuff. The night was quick and slick and if one piece jarred, than no matter because something new would be along shortly. Some people prefer longer, more meaty pieces, but I found the speed of it all a nice change.

It was a good evening and I very much hope Sleep does many, many more tours like this. For those in London there is a special gala at Her Majesty's Theatre on the 19th July to celebrate Sleep's 50th birthday - '50 Winks at Wayne Sleep' indeed. It's in aid of Sleep's Dance Scholarship and a few special dancers are likely to put in an appearance. Details of this and the rest of the tour are contained in our Listings section.

Oh and the piano playing was excellent (Blandine would have been pleased!).