THERE are some nights in the theatre that speak to the heart as well as the head. This was one of them.

Scottish Dance Theatre opened their triple bill with Liv Lorent’s tenderhook , a stunning piece about the search for love, about relationships, about how passion doesn’t mean possession.

Eight dancers, some elegantly on pointe others free-footed and unrestrained, whirl together in an ecstasy of ribbons and passion. But as Ezio Bosso’s gorgeous filmic score subtly reminds us relationships are challenging and changing. Sometimes we stumble and fall, at other times we build invisible hurdles and the white heat of that first infatuation either matures into something euphoric and deeply coloured with emotion or sees one partner cling and confine the other.

Lorent’s dance vocabulary takes us from the mesmerising elegance of those twirling ribbons through tumbling and fiercely connected couples to the spectacle of passion confining the spirit not making it soar.

Still more emotion followed in the evening’s most intense piece, In The Middle Of The Moment. Choreographed by Uri Ivgi and Johan Greben this enclosed two dancers in a three metres square of light.

It gave a claustrophobic power to this darkly dramatic work which follows the ever changing balance between a couple as they embark together on their personal journey. Its intensity was at times heartbreaking but it underlined the depth of trust, discipline and sheer physical agility and grace which runs throughout this company.

That dexterity, plus a helping of almost playful wit was seen in the final piece, Hofesh Shechter’s Dog.

Much applauded, this young choreographer presents a demanding ensemble piece packed with images from our evolutionary history.

Loping apes begin the march to an incessant beat of everything from samba rhythms to the voices of opera.

But there’s also the piston-like, factory sense of repetition as humanity marches on towards - well what? Read that title Dog backwards and you have either a question or a statement.