Charleroi/Danses, Playhouse Edinburgh

For an architect whose schemes are much admired but have too often remained unbuilt, joining in the creation of a theatrical production must be welcome, since it guarantees people will see the finished work. It is difficult, however, and may even be irrelevant, to know exactly how much was contributed to Metapolis – Project 972 by Zaha Hadid (for it is she, of the famous Cardiff Opera House among other losses).

Obviously the metal structures are hers: first grouped as one at the side of the stage, then (after dancers have progressed over their slopes) separated into three free-standing bridges and moved all over the place as part of the action. She is credited with the costumes too, not only their shapes and simple colours, but also the mouth-wateringly bright, bold and varying patterns which, by some technological alchemy ("blue screen" technology), they can assume when projected by video onto the back cloth.

Equally, Frédéric Flamand as choreographer is not only responsible for the movement of the dancers, but he also takes credit for the concept and a share of the lighting design. Much of the lighting looks "architectural'' – by which I mean it is clearly defined in separated and rectilinear shapes. This is a real collaboration where each has influenced the others thoughts and deeds.

What they have jointly achieved for Flamand's Charleroi/Danses – Plan K Company is a production where the whole is greater than the sum of its parts. What we see is a sequence of varied and often eccentric dance fragments, sometimes aggressive, often sexy. We see a man in an almost floor-length overcoat moving about on point. We often see the same dance simultaneously on stage and screen, with a live video camera or pre-recorded (and maybe even upside down). We see many photographs of landscapes and townscapes. Also, on the back cloth or sometimes projected onto material held up by the performers, abstract patterns in white light.

Somehow, Flamand and Hadid have made these disparate elements combine into a total pattern that has no plot and hardly a specific theme, but a set of ideas about what it is like to live in our swollen, disunited cities today and what it might become if they go on expanding; also the effect on their inhabitants of new technology whereby, Flamand says, "you're everywhere but at the same time, you're nowhere". I found it fascinating.

Charleroi/Danses will perform a different programme at the Queen Elizabeth Hall, London (020-7960 4242) on 26 & 27 Oct