Ash Mukherjee has been hailed by Dance Europe magazine as the best Indian dancer in the UK today and you can see why as soon as he steps on to the stage.

He has a striking and beautiful presence, with a fine technique. A versatile dancer and choreographer, originally trained in the Bharatanatyam style of southern India, he is joined in Sonia Sabri’s production by Sonia herself, a talented Kathak dancer and choreographer.

This is one of those shows that are very enjoyable, even though it’s hard to relate what you are seeing to the descriptive material.

The first half opens with three linked solos from Ash, in which he visits a temple, awakening his physical and spiritual body, shows us the harmony between the Divine Masculine and the Divine Feminine, and then lulls his devotees into a deep meditation.

All this is done with a euphoric facial expression and remarkable, elegant gestures of his long fingers. Then Sabri dances Tarana, a song of celebration. To complex drum rhythms, she performs an almost pure Kathak dance, featuring traditional stamping footwork and the jingling of a foot bracelet.

After the interval came Labyrinth. We are told that this was inspired by Woody Allen’s script Death Knocks and Schubert’s Death and the Maiden.

This is a beautifully danced piece in which the performers consider what death means to them. Drawn to the centre of their mental labyrinth, they face the struggle between positive and negative thought. Here Ash begins with soft, exploratory gestures as he conveys at first happi-ness, then concern and perhaps fear, and, eventually, pleasure.

Sabri, meanwhile, dances in a series of enigmatic episodes, full of spinning and turning, finally combining with Ash to bring the work to a conclusion. This is difficult subject matter to put over.

And while some of what is shown may seem obscure, the result is a lovely and pleasing performance.