The company - nine dancers and one singer, with a seven-man orchestra - mostly ignore narrative in favour of dance, a wise decision, as most of the superfluous stage action is painfully wooden. But once the dancing starts, everything else can be ignored.

The inspiration for the programme comes from the 1930s and the 1940s, where men in gangster suits dance with women whose dresses are missing that crucial half yard of material necessary for comfort. The overall effect is an opening scene with a mixture of snarling and seduction that sums up the general perceptions of the dance perfectly.

Tango Por Dos, however, want to expand the idea of tango, with a number of scenes from different strata of Argentine life. Of these, the most uncomfortable is a "juvenile" escapade that fails to convince until they stop playing around and start dancing seriously. However, Erica Boaglio stands out in this and other scenes, turning on the heat when she wants to, but mainly just expressing the pleasure of dancing. The first act drags a little towards the end - some cuts would have helped, as would more care on setting. The whole feels slightly out of place in a theatre and might have worked better in a more club-like setting.

Fortunately, the second act never flags, and was received rapturously by the audience. After running the gamut of tango styles in the first act, the company settles down to some serious virtuosity and sizzle. Influences from a wide variety of dance styles are visible in the choreography, as a dancer winds a classical attitude around her partner's body or the erect carriage and short sharp steps of flamenco intervene in the close sinuous dance.

The company is superb, and because this show is about music as well as dance, both the orchestra and Roxana Fontan, whose singing alone could make the entire experience worthwhile, are prominent on the stage. The rhythms of the music are familiar, and the orchestra provides space for displays of virtuosity from all its members. In particular Marcelo Chiodi, on flute and saxophone, and Jorge Rutman on piano, performed wonderful solos, while the bandoneon, a type of accordion, gave a French twist to the atmosphere. This was heightened by Fontan, who stole the show on several occasions, particularly at the end, when she demonstrated that she didn't just sing but is a pretty good hoofer as well.