IT's rare to come across a double bill where both pieces leave you not just aware - and in awe - of the dancers' bodies, but also aware - and possibly surprised - by your own! Even without having to make any conscious analytical effort, just watching the articulate physicality of Davies's choreography leaves you marvelling at the cunning design features that make up the human body.

Then, just as the notion of body-as-machinery is taking hold of your imagination - the choreography reminds you that man is much more than a machine: man has intellect, emotion, wit and a need to connect with other individuals and with society - in Winsboro Cotton Mill Blues, which Davies made originally for Rambert, but which is now tweaked to fit her own company's particular thrust - this message rises, subtly, through a shift in emphasis. The brattling clatter of working looms introduces movement that is lean, sharp, mechanistic: dancers don't just work the machines, they become them. But when respite comes, those self same angularities and load-bearing counterbalances soften. Bodies are no longer driven, but freed - so that shoulders shrug to ease aches, limbs are seen to wind down. And joint effort becomes shared weariness. Watching, you can feel, this - and feel it, too, in the

hammering thrum of Rzewski's piano music.

The music for 88 - various piano studies by Conlan Nancarrow, played live on the pianola by Rex Lawson - also makes itself felt as well as heard: swarms of stinging notes that tattoo patterns in the mind and yet, the dance itself is often tender, playful, sensual and amused.

At times it's as if the mechanical action of the pianola leaps on stage, as a phrase of curving movement transfers, rapidly, along the line of dancers.

Other moments - abetted by the rings, lines, and criss-crosses that pattern the floor - hint at the mathematical structures that underpin our very existence, even as that existence flares its hormones in sultry Spanish-inflected steps!

88 sees Davies and her truly outstanding company celebrating a decade's dancing with a work of blissful intricacy that, above all, revels in letting bodies speak for us, and to us.