All good things must come to an end, and in the case of the latest edition of Rambert Dance Company's Season of New Choreography, it was Jonathan Goddard's and Gemma Nixon's time with Rambert, as they look to their futures as a choreographers and dancers with and beyond New Movement Collective.

Looking to Rambert's future too, and specifically its future home in Southwark, the Season of New Choreography has appropriately relocated to the nearby Queen Elizabeth Hall, past showcases having been held at The Place and Royal Opera House's Linbury Studio. The current format, generously supported by the Esmée Fairbairn Foundation, presented four pieces, this time by Dane Hurst, Mbulelo Ndabeni, Patricia Okenwa and Jonathan Goddard & Gemma Nixon. It was an oddity about this programme that several of the pieces were evocative of others, whether deliberately or unintentionally.

Dane Hurst first came to my attention in 2010's The Place Prize, where he made far more of an impression as a dancer than as a choreographer, but 'The Window' shows that he has clearly been developing as a choreographer, with this as his most accomplished work yet. 'The Window' looks back to the apartheid laws of South Africa's 1948 Group Areas Act, exploring how one particular household might have been affected. The piece opens inocuously, with Angela Towler recreating scenes from Sylvie Guillem's 'Bye' by Mats Ek, reclining by a floor lamp. As more and more women fill the stage, their sense of cabin fever heightens, however the energy shifts when three men arrive, seeking somewhere to dance, and someone to dance with. Towards the end, the piece turns sinister, and the violent and disturbing scenes are perhaps in too much contrast with the rest of the piece. It's Hurst's strongest work yet, with adventurous choreography, but the story could have been heightened if it was reduced in length.

Mbulelo Ndabeni's Face Up, a duet with Miguel Altunaga, was an enjoyable duet about the boundaries in a relationship between two men, in a part-dance, part-fight context. There's something compelling about watching two men dance together, and although Face Up didn't say much, it was entertaining to watch.

The night ended with Patricia Okenwa's Viriditas, a piece which seemed to celebrate womenhood and ritual, however from its Isadora Duncan intentions, it seemed evocative of both Rite of Spring and perhaps the outtakes of Apres-midi d'un faun. Continuing the Faun references, Okenwa's choreography was very stylised and deliberate, shedding the dynamism of the evening's earlier performances. There were some great performances nonetheless, if slightly hampered by the little polystyrene balls underfoot, for example during the mad scene.

The best - and most exciting - piece of the evening was easily Jonathan Goddard's and Gemma Nixon's Heist, a quartet including Eryck Brahmania and Estela Merlos. It opened on Goddard moving distractedly, with Nixon mirroring him upstage, a device which they repeated throughout the piece. Although they used a slightly mechanical style of choreography, the dancing was extremely fluid, highlighted by Paul Green's beautifully dramatic lighting design. The most striking aspect of the work was the tight connection between the dancers, enabling them to mirror each other regardless of where each was on the Queen Elizabeth Hall's large stage.

Let's hope that Heist indicates a bright future for Jonathan Goddard and Gemma Nixon: the contemporary dance world needs more works like this!