Taking Flight was an aerial dance display which threw in the air the way to approach our relationship with the ground, the air above it and where we fit into the in-between.

Performers and directors sent the rules of gravity to the wind and came up with a breathtaking combination of live shows and film.

A cross between acrobats, gymnasts and dancers, the three live performers used harnesses, walls or just a simple rope to twist and contort, throw and entwine their bodies with an ease which hid stunning amounts of physical strength.

Lindsey Butcher outshone Scott Smith and John Paul Zaccarini with a natural poise and grace which exuded confidence and a boundless joy at what she was doing.

She began with just a slowly twisting, unbroken piece of rope in Falling Up, which apparently symbolised a body suspended in the action of falling, caught between ideals, impossible dreams and realities.

As the first performance of the evening it was a deceptively simple piece and only after a while did the full enormity of Butcher's strength and agility become apparent.

Looking back after the show ended, it was probably one of the most physically demanding in its intricacy and the sheer strength required an ideal opener for the evening.

Next a film, Wallflower, showed the same performer swinging in a nappy harness in a dimly-lit space with just a red brick wall as a backdrop and prop.

The strange, slightly sinister air of the piece was reminiscent of an insect spinning and twisting in the half-light to no apparent end but for the sake and joy of movement.

The mysterious atmosphere was offset effectively as the actual performer could be seen through the gauze of the screen slowly mimicking the movements she carried out on film.

An inspired idea was to present documentary film-maker Becky Edmunds' take on the rehearsals for the show next, giving the audience glimpses of what was to come and the work that went into it. It included the macabre but fascinating sight of one of the performers, Scott Smith, injuring himself on the wheel. He was then shown with his arm in a sling forlornly watching the others rehearse.

Next, Reinventing The Wheel was like watching children in a playground as they manipulated a rocking structure, requiring split-second timing and a lot of trust.

Accompanied by Spanish music, Butcher could hardly suppress her grin, while Smith was more grim-faced as he negotiated his way around the piece of equipment which had beaten him down on film.

From Where I'm Standing depicted two office workers in their separate offices and their effect on each other throughout the working day.

Gravity-defying and atmospheric, it had strong influences of the 1984 film Brazil, including battles with office equipment in grainy black and white surreal filmwork.

A strong soundtrack accompanied the show all the way through and the short, contrasting pieces, both live and on film meant the audience moved around the hall for each piece.

Somehow this meant the focus was entirely on the performances as it left little time for fidgeting before it was time to stand up and move again.

It was difficult to imagine what the show was going to be like but it was a joy to watch and an inspiration to realise what the human body can achieve.