Steve Reich's Three Tales is his latest multimedia collaboration with his wife, the artist Beryl Korot. Each of the three sequences, for live instrumentalists, singers, and video projection, is a parable of man's Faustian pact with technology.

The first dramatises the explosion of the Hindenburg zeppelin, the second is based on American atomic experiments on Bikini atoll, and the final tale muses on the ethics of cloning and artificial intelligence.

Although there are vestiges of conventional narrative in the piece - like the countdown to the ignition of the A-bombs in the Bikini atoll sequence, or the construction and collapse of the Hindenburg - most of the story telling is oblique and abstract.

Korot's videotrack is a rich montage of newsreel, talking heads, and electronically manipulated imagery. There are some striking moments, like the slow-motion repetitions of the Hindenburg's destruction, or the fragments of text from Genesis that punctuate the atomic devastation of Bikini atoll.

Reich's music is a tapestry of rhythmic ostinatos and repeated fragments of melody, often derived from the speech inflections of the interviewees on film. The score is conducted with clockwork precision by Bradley Lubman, and performed by the Ensemble Modern and Synergy Vocals. The singers, dressed in metallic suits, comment impassively on the devastating events.

The interaction between the music and the visuals creates a distance from the emotional intensity of the subject matter, and allows the audience space to reflect on the costs of technology.

Yet the most powerful moments of Three Tales come in the final part, where Korot's images of dividing cells and robots match the repetitiveness of Reich's music.

From the seemingly unpromising starting point of scientists like Richard Dawkins and Stephen Jay Gould discussing the finer points of genetics, Reich and Korot create a sinister, gripping drama. Dawkins' observation that "we, and all other animals, are machines" is looped with hypnotic obsession, and video transforms him into a self-replicating robot.

Rabbi Adin Steinsaltz is the conscience of the piece, with his refrain that "every creature has a song".

The final, chilling image is of a young research student talking to a grotesque robot, made up with false hair and eyelashes to look like a metallic, skeletal Barbie.

Without patronising, Three Tales offers a timely dramatisation of our vexed relationship with science.

· Until Saturday. Box office: 020-7638 8891.