A HOT theatre, but stewing was a small price to pay to see Scottish Ballet letting its hair down. It felt like the best of the old days: when not every piece had to be a

repertoire-investment, when new faces could move centre stage as dancers or choreographers. Above all, it's reminder of what this company can do. At the heart of the triple bill is a welcome revival of Peter Darrell's Five Ruckert Songs. Live music - a thrilling account of the Mahler by Ruby Philogene that was well-answered by Dawn Sutton as the Woman. The choreography is, as ever, honest in its evocation of departed love, blighted dreams, and hard-won peace. The company danced with a sensitivity and thoughtfulness that left one blinking back tears.

Adam Cooper's new piece, Just Scratchin' the Surface, left one grinning and applauding at the witty characterisation and invention that colours his choreography. Lez Brotherston's seedy jazz bar is the meeting place for oddballs who - to the strains of Ellington, Peterson, and other jazz-masters - act out scenarios of pick-up, freshman flirtation, and geeky yearnings. Keith Prested got his limbs brilliantly in a twist as the twitchy nerd, Nicci Theis did a mean blues full of edgy angularities, Cathy Evers flashed her talents as a lady of the night, while Oliver Rydout was really no lady, but played the part with vampy panache. The piece is full of lovely touches - the company relished this, entering into some demanding movement with enthusiasm and aplomb. Sheridan Nicol's Faerie Feat opened proceedings with another lively challenge for the company: crossing elements of Scottish dance with

her own far-ranging jazz vocabulary. The Peat Bog Faeries skirled on stage, the dancers kicked up their heels and generally cut loose, and, if at times, they were a little polite rather than raunchy, no doubt they'll relax into of her choreography in time - Campbell McKenzie is setting them a ''get down and get with it'' example. A super evening loaded with class.