George Piper Dances, Queen Elizabeth Hall, London

What a title: Truly Great Thing. No false modesty there. I can only assume that something great was what Michael Nunn and William Trevitt (television's Ballet Boyz) asked the choreographer Charles Linehan to create for their group George Piper Dances. Well, I wouldn't go so far as to thrust greatness upon it, but the outcome is a ballet that is unusual, interesting and entertaining.

It starts with a duet for the two boys, who are joined after a while by two women, tall dark Justine Doswell and young Lucy Dodd, for whom they soon vacate the stage; then another young man, Christopher Marney, arrives. But a singularity of this work is that even when several people are performing at once, even it might be doing the same sequences or sometimes pulling at one another or clutching for support, they seem not so much partners in the usual sense as simultaneous in their individuality.

The other notable feature of the choreography is the distinctive nature of the movement. The dancers crouch, stretch, lie down, twist out a leg or an arm: hardly any recognisable steps but always this original plastique. Just for a short while at the beginning, what Nunn and Trevitt are given to do might put you in mind of another of their numbers, Russell Maliphant'sCritical Mass, but that soon passes.

The music is by Julian Swales, who has worked several times with Linehan, and he makes much of minimal means. For me, his quiet, sonorous repetitions brought images of a harbour with ships, but others will no doubt hear it their own way.

With Truly Great Thing, George Piper Dances completes its first tour. It has shown pieces by four invited choreographers, as well as three works by its own directors. Without wanting to be rude, I must say that this latest programme, the only one with no ballets by Trevitt or Nunn, is the most enjoyable.

They have probably been working themselves too hard with their excellent dancing (generally three or four roles each, per night) to find enough time and concentration for choreography, especially as they also provide somewhat cheeky video-links during the programme to help maintain audience interest.

However, they do not hog the limelight. Standards in the group are high, and one of their achievements has been to display proudly the star quality of the previously too often overlooked Oxana Panchenko. She danced with great precision, power and personality in the duet Sigue with Trevitt and as the woman in William Forsythe's Steptext.

Nunn and Trevitt say they want to challenge and entertain audiences; they have struck a fine balance so far and deserve the success they seem to be winning.

George Piper Dances will be touring the country next year; further information from www.gpdances.com