With Hitch's Bitches and Falling Up, seen in the Project's Space Upstairs for two nights at the weekend, Cindy Cummings and Todd Winkler have finally persuaded me that motion-controlled sound and video playback can make a unique contribution to the staging of dance.

To take their camp send-up of Alfred Hitchcock films first, it began with Winkler's spooky music and the sinister shadow of groping hands on the back wall, followed by Cummings in a blonde wig, creeping fearfully away from unseen terrors. After she has climbed the wall, hung in terror from a ledge and finally fallen from it, the video comes into play. On screen are excerpts from Marnie, Vertigo and North By Northwest, with which Cummings interacts, controlling video by her movements so as to stop or reverse images as appropriate, with amusing results.

Falling Up was a work in progress on the subject of flight. First, a tight close-up before an on-stage camera of Cummings's face, framed by a space helmet, appeared on screen, revealing how she can control the soundtrack by movement of her eyebrows. Next, Cummings on stage in black leather, produced distorted images on screen as if in fun palace mirrors. The last excerpt was fascinating: by improvising angular movements in a triangle of light, she triggered a three-dimensional effect on screen to the triangle, which rose and fell so that she appeared to be balancing on a surfboard. This suggests infinite plot possibilities.