He converts her into multiple images; follows her and her partner to dance in the foyers and staircases, or in flashback, and finally shows her put a coat over her brief costume, leave the theatre and disappear into the distance along Rosebery Avenue.Gimmickry? No, because all the tricks are used to expand the dancers' scope and open up the dance to new depths. You could say as much for Twilight, earlier in the programme, in which Nathalie Caris wears high heels for most of her duet, but finally dances shoeless: each condition affects the way she moves, and her partner, Altin Kaftira, echoes that, bringing a strange quality to their relationship. This matches the unusual tonality of John Cage's music for "prepared piano" and also the harsh romanticism of Jean-Paul Vroom's backcloth.The other works shown, Adagio Hammerklavier to Beethoven's music, and two recent pieces for Sofiane Sylve and Gael Lambiotte (very fast, to music by Erkki-Sven Tuur and dying away to immobility with Arvo P?'s music), are, on the face of it, pure dance, but each has its own style, its own character. Twilight and Adagio Hammerklavier are both nearly 30 years old but still look entirely fresh.

This is the best evening of choreography in London for a long time: lucky Dutch National Ballet to have such a creator, and dancers who do him such justice.

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John Percival To Saturday May 19 (020-7863 8000). A version of this review appeared in later editions of yesterday's paper. In the early 1980s, when I was features editor at The Guardian, an unsolicited article crossed my desk about the riots in Toxteth. It was so well-observed, so thoughtful, and so beautifully written that I put it straight into the paper. I cannot claim to have "discovered" Jeremy Seabrook ­ that honour belongs to Paul Barker of the late magazine New Society ­ but he was to become a regular contributor, appreciated in the oddest places.On one occasion I was rung up by the late Alan Clark MP, who asked if I could organise a dinner for him to meet Seabrook, as he was captivated by his arguments about Englishness.

The supper was not exactly a huge success, the ascetic Seabrook being rather nonplussed by the ebullience of the Thatcherite rou?But I treasure the memory of an improbable meeting across the political divide. In recent years, Seabrook has taken himself off for months at a time to the Indian subcontinent and Southeast Asia. One result of his researches in Thailand was an outspoken book about tourism and the sex industry, Travels in the Skin Trade (Pluto Press, £13.99). Much of it dealt with the girls (and boys) who move from the country to provide raw material for the trade. But what made it so different from other treatises was his understanding that the foreign punters, who had travelled so far from the inhibitions of their own societies, also had an important story.