Dance review: Michael Clark Company, Glasgow

There's nothing quite like a Michael Clark show – onstage and off. The pre-show hubbub was beaten only by the post-show excitement, with superlatives dripping off the tongues of the capacity crowd pouring out of Tramway.

When Clark first premiered come, been and gone at the 2009 Edinburgh International Festival, the work screamed potential, but with a frustratingly weak pair of lungs. It was obvious that a truly great piece of dance lay hidden inside – and happily, it's now been released. Longer and polished to perfection, come, been and gone is now up there with Clark's other masterpieces.

On a purely surface level, the work looks and sounds fantastic. Music by David Bowie, Brian Eno, Lou Reed and Ralf Huetter gives the dancers a stomp in their step. Long-time Clark collaborator Stevie Stewart dresses the performers in a plethora of shiny, skin-tight costumes – always with an off-beat edge (none more so than the catsuit strewn with hypodermic needles, donned for Reed's Heroin), all of which contributes significantly to audience enjoyment and cannot be underestimated.

Yet it's what underpins those visual and aural elements that singles Clark out as one of the greatest British choreographers of all time. Fuelled by his choice of dancer (not a weak link among them) his work is executed with such precision, such unremitting commitment, that it compels you to watch. Every move is purposeful, every arm and leg stretched to perfection – and every eye in the house is on them.