Mark Morris dance group, Barbican, London

In the last of three linked dances, the Mark Morris Dance Group pair off in couples. With their bold torsos and fleet, skippy steps, they look both elegant and goofy: they could be dancing at court, or at an office party. Everything they do is human and marvellous.

Mozart Dances comes to the Barbican as part of New Crowned Hope, the Mozart festival created by theatre director Peter Sellars and produced in partnership with the Vienna Festival and New York's Lincoln Centre. It's a starry collaboration: dances by the American, Morris, backdrops by the painter, Howard Hodgkin, and Jane Glover conducting the Academy of St Martin in the Fields with Emanuel Ax and Yoko Nazaki on piano.

Morris sets dances to three Mozart piano concertos, making three linked dances. Each has its own mood, but there are recurring images, and all three share a sense of unexpected drama: gestures, half-sketched mime scenes, shifts of structure and feeling.

Mozart is hard to choreograph: too often, the ballet dancers end up skimming prettily along the surface. Morris digs deeper. In "Eleven", set to the 11th concerto, Lauren Grant's first solo is full of clear, flowing phrases, grandly shaped to the piano line. Grant keeps turning against herself, pushing curves into angles, catching the changes in the music. Simple is complicated.

These three dances are full of unexpected changes. "Eleven" starts with men and women on stage, but the men just vanish after their opening dance. "Double", to the Sonata in D for Two Pianos, is a men's dance, though women flit through in gauze skirts. The men prance through changes of direction, their hands delicately held, then break into long, stomping strides. One minute they're playing at baroque nymphs and shepherds, the next at being soldiers. Morris sets them bouncing on the beat with comic literalness.

"Twenty-seven" puts men and women in couples. They fall against each other in stuck-together poses, then separate and come together. The whole company are involved in getting two men together, lifting and moving one to the centre of the stage, until his partner comes sprinting smack! into his arms. Patterns become drama, then whirl into patterns again.

Ends tomorrow (0845 120 7550)