Muirne Bloomer and Emma O’Kane, whom many will know from their work with Cois Céim, have spent years in ballet training. They have the scars and hang-ups to prove it. In the opening scene of The Ballet Ruse - not Russes - their training is compared to that of a boxer's, as they stalk each other around the stage in robes. In this giddy two-hander, the dancers seize the opportunity to shake-off the shackles of their formation by grating and grinding against the codes of classical dance, offering a much more free-form and exuberant performance in the process.

The production is organized around a series of vignettes that subvert various aspects of ballet, from its appeal to myth to the effect of practise on real bodies. Here, ballet bars become stocks and shoes electrodes. Despite the serious comment, there is plenty of comedy: in one instance the dancers chug Guinness; in another, they entangle each other in tissue paper and freak-out to Lady Gaga. Some moments are much stronger than others - the smoking scene goes on for too long without variation, for example - but this doesn’t detract from a piece that succeeds in being both thought-provoking and entertaining.