Trisha Brown’s dancers are agile, lithe and sinuous, her choreography is sometimes beautiful and arresting, but there’s little that’s innovative or radical in this triple bill. Curiously subdued and sometimes pedantic, they boast music from Laurie Anderson, John Cage and Monteverdi, but there’s a lack of real drama or passion in all three.

The show begins with Set and Reset, accompanied by a beepy industrial score by Anderson, its set composed of two pyramids and a cube onto which black and white TV images are projected. The opening is stunning, as a line of dancers carry a fellow performer horizontally onstage, looking like he is walking in midair. Such moments recur, as performers do cartwheels six feet off the ground, or seem to float on a sea of hands and arms.

Not only in this piece but throughout, the dancers seem magnetized by the edges of the stage, filing into the playing space like the flicked pages of a book. There’s great fluidity to their movement, a sort of muscular calm to their choreographed interactions.

What is problematic is the lack of differentiation between the three pieces, despite the new sets. The second one, Present Tense, is played against a backdrop that looks like a huge Chinese ideogram, and the dancers are resplendent in figure-hugging red and yellow silk. Yet visual beauty predominates, a fluent expressivity which feels abstract and alienating.

With the third piece Canto/Piano comes a change in tone to Monteverdi’s music. Some stunning set-pieces using the dancer’s bodies as ladders or rope bridges do not compensate for numerous longueurs in what is in fact quite a brief piece.