The wow-I-didn't-know-Irish-dancing-could-be-like-this moment has gone. To prove that Riverdance was more than just a one card trick, it has to move on. Michael Flatley knows this, and - my personal distaste for body oil aside - there was no denying his invention which, combined with a supreme talent, took Lord Of The Dance a rung up the dance ladder.

The same is not true of Dancing On Dangerous Ground. The premise sounded good: a real Irish myth and the dancing talents of Flatley's original partner, Jean Butler, and his Riverdance replacement Colin Dunne. The story of Grania's marriage to greybeard Finn McCool overthrown by her passion for the younger Diarmuid is as powerful as Romeo and Juliet, which ballet choreographers have had no difficulty translating into high emotion.

Yet emotion was just what was lacking. Although the chorus gave their all, they couldn't compensate for a total lack of passion anywhere else. The love triangle offered splendid opportunities for dance-duelling: you can just see Fred and Gene hoofing it out. But Finn (Tony Kemp) never moved faster than a stroll, and the great dance arias of love-united, love-parted, love-dead, were totally absent. Instead, for much of the second half we had an unfocused wander on a stage darkened to maximise the effect of the torches wielded by Finn's Jedi-kitted warriors, torches that were both blinding and boring.

For anyone who loves dance, the set piece massed taps still thrill even if the girls' choreography is a bit lean. Jean Butler is as willowy and high-kicking as ever and in the first half demonstrates potential for dissolving Irish/ballet boundaries, but with a partner displaying as much charisma as a gerbil on a wheel, it's an uphill struggle.

Runs until February 28th. To book phone 0044-171- 4945061