Minutes into Glenn Wilkinson's new piece for Rambert, I started wondering what had become of that nice, camera-friendly eco warrier Swampy. Is he still saving woods? More important, could he be the presiding spirit of Wilkinson's work Tree Finger Soup3? The two dancers in its opening section certainly looked as if they were daubed in postmodern war paint, and their moves had the aggressive, dug-in feel of people waiting for battle. Wilkinson's trancey score (by Aphex Twin and Headrillaz) also sounded like a hangover from the 1990s.

But this line of speculation did not help decipher the rest of the choreography, particularly certain recurrent poses in which the dancers gestured abjectly at their heads, hearts and sides. These looked more like anatomical diagrams indicating sites of pain than the fighting stance of road protesters. And Swampy certainly played no part in the later sections of the show, as the two giant mirrored circles of the stage design suddenly tilted up and away to initiate a series of dramatic changes of set.

Three more dancers popped up in the piece in the middle of three Perspex boxes, dry ice gusted out of a large trellis frame, the lighting blared from blue to orange to lime, and a crimson and indigo frieze advanced slowly, sweeping the dancers into line. You could tell that designers Bruce French and Bruno Poet were having a ball. The choreography, however, was increasingly marginalised, and much of it just looked slack and silly.

In the past Wilkinson has made some well-crafted, edgy little pieces, and it was right to let him loose on a more ambitious project. What a shame that he wasn't up to it and that Tree Finger Soup3 seems in the end to be about nothing more than squandering a big design budget.

The set for Wayne McGregor's Detritus is less intrusive, though it probably cost a few pounds in the engineering. It consists simply of a huge jointed limb that rises, lowers and flexes itself throughout the piece, its eccentric moves sharpening our focus on the buckled, beautiful, deformed and dangerous steps of the dancers. Detritus is a piece that looks even better on second viewing, its fashionably sharp surface deepened by really clever dance invention and ruffled by currents of oblique emotion. Jiri Kylian's setting of Stravinsky's Symphony of Psalms, made in 1978, holds its own as a classic, but looks clearly from another era.

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