After nine years, the Gogmagogs are still number one in a field of one. And their new show, Gumbo Jumbo, proves that director Lucy Bailey can maintain the magic with a new band. Of the founders, only co-artistic director Nell Catchpole remains, playing violin instead of viola.

The genius of the Gogs lies in the way they interpret contemporary music through outrageously physical performance for seven strings: bass, two cellos, three violins and a viola. Gumbo Jumbo presents the music of 10 composers, using costumes, choreography, composition and the constant creation of beautifully lit moving images.

Jane Gardner's opening piece begins with seven illuminated pairs of white-gloved hands on a blacked-out stage, tracing the outline of an unseen double bass. The piece - for which the players remain invisible, apart from a few limbs - is ingenious, visually thrilling and musically coherent. Much of the 90-minute show maintains this standard, with a constant flow of dramatic invention.

It's extraordinary what Bailey has trained her young troupe to do while playing music: fighting, running, kissing, even speaking and singing. They don sparkling gowns and skeleton masks for Hanitrarivo Rasoanaivo's macabre dance, strip to their underwear for Billy Jenkins, and become an ultra-expressive cinema audience for Mike Westbrook. Comedy and spectacle are derived from the instruments' shapes: voluptuous cellos, tactile violins and the whale-like double bass in Django Bates's mysterious new "fishing" piece.

Yet whatever the visual scenario, it's great to listen to contemporary music - all original commissions - played with such energy and commitment. Some of the most affecting moments are essentially musical, such as Roddy Skeaping's superb piece In Memory Of. The presentation, employing slow movements and simple wooden chairs, allows the composition to speak in the most direct and moving way.

· Ends tonight (box office: 020-7930 3647), and at the Corn Exchange, Newbury on Thursday. Box office: 01635 522733.