David Bolger drew laughs from the audience in the Samuel Beckett Theatre on Tuesday night for his latest piece, When Once Is Never Enough, the second the house lights went out. In a square of light the four dancers frenetically mimed the routine announcement about emergency exits and flash photography. The announcement was repeated at the end without movement. The dancers looked too exhausted.

For just over an hour, without interval, they covered every inch of the floor of the bare stage, and most of the walls as well, with energetic acrobatic movement mixed with mime. Sometimes this was to Ellen Cranitch and Conor Guilfoyle's live performance of the former's mainly percussive score, sometimes to recorded dance music of the 1950s, sometimes to the sound of party chatter and sometimes in silence, broken only by Peter Sears' provocative animal noises. Repetitive, imitative movement, from hand-rubbing to flailing arms, led to aggressive partnering but, being Bolger, there was always humour in his treatment of obsession, sometimes like an Apache adagio gone mad, sometimes satirising behaviour at sports fixtures, sometimes seeming to send up the whole modern tendency towards aggression in dance.

Simone Litchfield had a lyrical solo but kept pace with the men when it came to action, Robert Jackson specialised in rolling, Benjamin Dunks danced as well on his hands as on his feet and Sears led the madness, but all four performed splendidly, imaginatively lit by Lucy Carter.