In April, Oxford audiences were treated to a visit to what looked like an authentic, slightly sleazy Buenos Aires nightclub, where we met a cast of tango dancers, and witnessed the dramas and seductions, and of course the tango dancing, that took place. The atmosphere was terrific.

Tangomotion, on the other hand, makes no effort to create atmosphere. The on-stage band is Tango Siempre — often seen here. This is a group of seven: piano, bass, three violins, cello and bandoneon. They are led by pianist Jonathan Taylor, who also acts as the compere and narrator of what is, essentially, a lecture demo of tango music and dancing. We hear examples of tangos through the decades, we see them danced, excellently, by two couples. There is no programme, so I can only give them the names we got from Roger — Geraldo and Nina had a sultry latin look to them, as did Richard and Jenny, who sound English but performed with an intense slinky intensity, particularly in a number in which Jenny constantly caressed Richard with her legs, ending up twined around him in the air.

Their tango-waltz, with Richard in scarlet shoes to match Jenny’s blouse was quite something. Nina conveyed the paradox of the female tango dancer — remote and inaccessible, but with a hint that her resolve may crack with the right man; submissive, yet subtly controlling at the same time. There were several numbers by the band alone — including one by Taylor — to give the small cast time to breathe and change costumes. Taylor is a terrific pianist, not so terrific as a narrator, although he produced some interesting anecdotes. The group are lucky to have Julian Rowlands — the only bandoneon player in the UK, a real virtuoso on this accordion without any piano keys. Apparently bandoneon players think that the reason tango music is essentially sad, is because of the painful struggle they have with their instrument.

Musicians and dancers were impressive, but what this show lacks is passion and atmosphere.