Phoenix Dance Theatre, which shares a spiffing new building in Leeds with Northern Ballet, presented a four-part show of real quality at the Pegasus on Friday.

Richard Wherlock’s Switch found them at their very best in a fast-paced abstract work, with the dancers in tight-fitting colours and matching trainer-socks. These allow a lot of sliding about and skidding to a stop, which would not be possible for dancers in the bare feet of contemporary dance. There are lots of big lifts and well-crafted action in an uplifting piece.

Of the three works that followed, the most intriguing was Pave up Paradise, a witty take on the story of Adam and Eve. It’s a duet, with the dancers dressed in formal clothes, and begins with Josh Wille — back to the audience — peeing noisily into a bucket. Later he shows us the bottle from which the slender cascade actually came. From this same bucket (ugh! ) Azzura Ardovini pulls out the fated apple with her teeth.

They are an attractive and technically excellent pair, and make a saucy job of the apple-business in a complex and sexy dance in which they debate the question of whose fault it was that the forbidden fruit was eaten.

Two songs by Amy Winehouse work well as the basis for Philip Taylor’s What It Is, in which Phil Sanger, Amanda Lewis and Ryu Suzuki go through a series of couplings in spaces defined by coloured light. These three-way permutations bring moments of joy, but more often seem to bring pain.

In contrast, the last piece, Maybe Yes, Maybe No, is light-hearted though unfathomable. A live microphone dangles over the dancers, so that their voices are added to the soundtrack created by Street Furniture.

The work is by Aletta Collins, and illustrates a truth I have often noted in dance — it’s perfectly possible to enjoy a performance without having a clue as to what it’s about.