Tickets for Joss Arnott's show at Rich Mix sold out several days ago, which made it surprising when they announced that they'd released 25 extra seats. But when the audience arrived before the show, it turned out that these comprised two extra rows of chairs in front of the raked seating: two rows in which people could see little besides the heads in front of them. A rookie error, which saw some people frantically changing seats so that they'd actually be able to see the show, and the remainder having to miss out.

The opening work was 24, a work inspired by the Alexander McQueen exhibition Savage Beauty, which was premiered at Resolution! at the start of this year. Reviews of this work focussed on the Amazonian nature of the dancers, alluded to by the costumes and their ferocious physicality. While the choreography emphasised the dancers' articulation and physicality, it encapsulated the preconception of Amazonians as fierce and savage women, although the choreography was unevenly balanced with some of the solos lasting for too long.

Origin, the newest work in the programme, was a solo for Arnott himself, and a welcome opportunity for audiences to see him personally explore his choice of movement vocabulary. At the start of the work, he cut a humble figure, his face obscured by the too-dim lighting as he propelled himself around the stage, as though shaking off... something. Although Origin had an improvised feel, it seemed to be a natural progression of where Wayne McGregor might go at some point in the future. Emotions and situations are hinted at, yet we can only see Arnott's response.

threshold was the highlight of the evening, and it's poignant that it's Arnott's earliest work which was the strongest work of the programme. It's easy to see from the opening section exactly why this piece excited so many and propelled Arnott so far: it's a confident and accomplished work which illustrates Arnott's ability and potential, as well as the skill of his dancers. Tavaziva dancer Lisa Rowley was easily the most captivating of his dancers, demonstrating fierceness and near-savagery in her movements, only occasionally acknowledging the audience through her narrowed eyes.

threshold is a powerful work when it wants to be, which isn't all of the time: the slow sections seem to be extended far too long, when the audience and dancers thrive on the adrenaline rush of the faster sections. And yet threshold seems to have been extended far belong its natural length: several sections appear to have been arbitrarily repeated multiple times, and the piece is much weaker as a result. Also, the extended sections reflect Arnott at a period of transition, having moved on from the spirit of threshold towards a new work, which weakened the overall piece.

Joss Arnott is capable of setting the dance world alight: he showed that over a year ago with the premiere of threshold, but sadly nothing in this current programme has lived up to that promise. This makes it all the more disappointing that despite the support of South East Dance, South Hill Park and producers Dep Arts, nobody has provided Arnott with the necessary artistic feedback about these works prior to launching this tour. It's also baffling that Arnott's lighting designer is Michael Mannion of Rambert Dance Company, and yet the lighting was too dim throughout - even in an intimate space such as Rich Mix - for the audience to watch without a struggle, much less view the works at their best. Let's hope that the Arts Council will provide him with the necessary R&D time to transform these works into the pieces they deserve to become.