Another year, another triple bill from Rambert... and this irreverent and enormously fun confection does not disappoint one jolt.

Aletta Collins sets the pace with her vivid and witty The Days Run Away Like Wild Horses. To the Latin-inflected rhythms of Arturo Márquez’s Danzones, a motley crew of characters take to the stage, each repeating the same hectic movement riff over and over. A footballer throws his ball in through a window, climbs in to get it and dives back out again. A mother feeds her child. A pair of lovers get frisky. A man in bell bottoms changes a lightbulb. With its hectic highs and sudden lulls this ‘domestic jig’ creates one chaotic and hugely entertaining patchwork of the moments that make up life.

Shifting into a different gear, Christopher Bruce’s Ghost Dances tackles political oppression in South America and the bloody purges carried out by the likes of Pinochet. To the chilling sound of the howling wind ‘death figures’ engage in a ritualistic and macabre dance. The ghoulish dancers, gradually crowd, infiltrate and interfere with a group of ordinary men and women – the personification of the ever-present threat of a repressive regime.

Weaving nightmarish sequences with scenes of unbridled joy as the troupe of regular folk sway to the pulse of the Latin score and Pan flute, this defiant hymn to life sparkles with hope.

Completing the programme, Goat by award-winning choreographer and rising star Ben Duke is another beast altogether – but makes for a memorable finale.

Straddling genres, the piece defies definition and categorisation with its heady blend of theatre, stand-up and ballet; all staged to the strain Nina Simone’s iconic songs.

Highly-charged political themes, hilarious skits (not least the drunken outburst from one of the dancers who momentarily passes out before hijacking the performance) and even a fleeting allusion to London’s terror attack overlap – with a hint of self-deprecation for good measure – in the fiercely original gambol.

Breaking the fourth wall, Duke starts off by throwing us a curve ball, in the form of Miguel, Goat’s narrator/presentor/interpretor. The disruptive MC has no qualms interrupting dancers mid-move to ask them what the heck they are trying to convey; only to brush off their explanation with a “I wouldn’t have got that one”. Picking apart his own performance, and poking fun at dance’s intrinsic abstractness and the often futile task of interpreting any choreographer’s highly subjective vision is a brilliant and simultaneous bonkers move.

Deftly crossing genres, and injecting much-needed levity into an often overly serious and self-important art form, Duke shows true grit.

Ghost Dances and Other Works runs at the Theatre Royal Bath until Saturday, November 4.