Alston at Home review: Choreographer's heroic farewell takes joy in movement for movement's sake

Sadler’s Wells may overshadow it at times, but The Place, where Britain’s modern dance scene began, attracts a devotional following – not to mention a history of self-sacrifice. In the 1970s, the philanthropist Robin Howard sold off most of his possessions to purchase the building’s freehold to ensure that generations of dancers could train and create unimpeded.

Then last year, Sir Richard Alston, one of our most important choreographers, took the decision to close his company, based there since its formation, lest funding cuts affect the theatre’s future. (A slow hand clap to all those involved over at Arts Council England.) His troupe will bow out at Sadler’s Wells in March, but for now Alston’s saying goodbye to his artistic home for half a century. It’s a programme that should be tinged with sadness – but this jam-packed, seven-work evening feels like a celebration. All of Alston’s trademarks and influences are on display: the long harmonious lines and speedy footwork, his extreme musicality, not to mention the sheer joy he takes in movement for movement’s sake.

Opener Nowhere Slowly (1970), Alston’s earliest existing work, reveals a choreographer who, even at the beginning, knew how to use space and stillness; crowd-pleaser Red Run (1998) showcases his ability to take on even the most difficult of scores and triumph. Tucked in between is world premiere Bari, enthusiastically danced by the London Contemporary Dance School, where Alston studied, and the fast and frenetic Detour, created by Martin Lawrance [corr] last year.

But the highlight of the evening? A series of Merce Cunningham solos, performed back in April at the Barbican as part of the Cunningham centenary celebrations, and danced then, as now, by the remarkable Siobhan Davies and Elly Braund.

Until Nov 30 (020 7121 1100; theplace.org.uk)