Eye-catching plans and a large model currently line the walls of the Pegasus foyer. They illustrate the innovative development scheme proposed for the theatre. Just how much that development is needed was vividly demonstrated by the lively Bode Lawal Sakoba dance company - one big leap too many, and the company's dancers could have found their noses hitting the side walls: the Pegasus currently has no wing space to accommodate any sort of spectacularly choreographed exit from the stage.

Not that lack of space seemed to inhibit Sakoba's six dancers (Sean Selby, Kristin Kelly, Helen Roche, Sherinne Kayra Anderson, Johnstone Tita, and Charlene Verona Coates). The company, which celebrates its 20th birthday this year, uses the Post Modern African Dance Technique developed by artistic director and choreographer Bode Lawal. The technique is described in a programme note as "an open-ended study that leads the dedicated practitioner towards the true essence of the dance of African people". Luckily, there's no need to be a 'dedicated practitioner' to enjoy Sakoba's work.

The opening piece, Clockwork, began and ended conventionally with a ticking clock. In between, Lawal's choreographic style showed his dancers' skill at contrasting fluid body language with staccato, sometimes frenzied, hand movements, with fingers quivering towards the sky. The piece seemed to suggest that you should enjoy life before it is too late: a hunched white figure appeared as the clock ticked - the Grim Reaper, no doubt.

Next came Love Story, a sinuous and effective solo depicting a girl discovering her true feelings. This contrasted well with the free-as-air, and appropriately flamboyant style of Mystical Songs, a gospel piece set to the music of Karl Jenkins. As a finale, Sakoba presented Kabaree, with its hypnotic rhythms provided by African drums. A cool dude announced: "I was in LA, ree-laxing as you do, when a woman walked by." We were back to the joys of living - a theme that this company puts over with infectious energy and enthusiasm.