Ultra refined, starkly elegant, this is simmering, shimmering pure dance.

It is a specially commissioned work by Finnish born choreographer Kenneth Kvarnstrom. It is based on three aspects of Mercury - the elusive, gleaming, vicious grey of 'quicksilver' as in the scientific periodic table, the messenger god of the ancient Greeks and Romans and the planet closest to the sun.

From the opening bell the beginning sequence is like a rocket hurtling towards the far flung planet. There is an extraordinary sequence for Richard Cilli as the god Mercury, crouching, his back naked as it slowly and sculpturally unwinds, twists and ripples.

Choreographically Kvarnstrom is very big on synchronised movement and circular patterns. There are virtually no solos but lots of duos, trios, sextets etc and ensemble work. At times there is unusual use of and distribution of weight, the women supporting the men rather than the other way around. There are also wonderful angles of 'flying ' lifted bodies - at times I was reminded of silver birch trees - and flower like hands. A couple of 'signature' moves included 'the banana' and ' the guitar'. There's quite a bit of echoing or repetition of choreographic phrases, soaring and flowing.

Extremely beautifully danced, it was all quite emotionally distanced from the audience - the dancers were in another world of their own of sensational dancing. There was no real clear distinction between the three segments /ideas as such it all rather flowed into one sort of like abstract stage pattern paintings.

Two other sequences stood out - one where there was a circle of light and a mysterious Zen like monk figure was first drenched in soot and then whirled and created a cleared white circle while his acolytes danced outside the circle. Then there is what the company call the 'seventeen minute dance ' where the dancers were coolly like pop stars, sleekly, elegantly posing at a party (residents of planet Mercury perhaps?)

Visually, Jens Sethzman's set was a blinding white enclosed box with a floating disk in the middle of it - at times representing the sun, the Scandinavian winter, or perhaps the 'white nights'? His clear yet at times opalescent atmospheric lighting was fabulous. The powerful musical score by George Gorga is at times a bit relentless and overwhelming but propels the work along. And I loved the slinky grey/black ripply elegant costumes also designed by Kvarnstrom.

However I also agree with my colleagues that the work could possibly be shortened and tweaked a tiny fraction. But if you want to see superb dancing in an inspiring, coolly elegant work don't miss this.

Mercury - Sydney Dance Company

For tickets visit http://www.sydneydancecompany.com.