As one of the partners in the new Spring Dance season at the Coliseum, Sadler's Wells could be expected to show off one of its most prized possessions. And they don't come more prized than Push, the collaboration between the ballerina Sylvie Guillem and the choreographer Russell Maliphant.

It had its premiere at the Wells in 2005, was an instant hit, went on to win an Olivier and a Critics' Circle National Dance Award among others, and has been seen by nearly 100,000 people around the globe. A stunning night of solos and a duet, it deserves every accolade and more. Seeing it in the vastly bigger space of the Coliseum only confirmed its unparalleled power to dazzle.

There are four parts to Push, all choreographed by Maliphant. The first, Solo, is a short barefoot turn for Guillem, who morphs from classical ballerina into a flamenco femme fatale (or is it the other way around?). The warmth and flow of Maliphant's undulating writing are as astonishing as the boneless beauty of Guillem's gloriously feminine dancing. Then it's Maliphant's turn in Shift, a duet for him and his shadows. A gentle meditation of studied poses and elastic connections, it acts as a kind of restorative, a balm for the troubled soul.

With Two, which follows, Guillem takes centre stage again, fixed within a square of Michael Hulls's golden light. The sonar beeps that announce Andy Cowton's score suggest Guillem is stranded deep on the ocean floor and that what we are about to see is her gradually swimming her way into the surface light. Restrained by the confines of her square, Guillem delivers a hypnotic and slowly evolving series of repeated phrases, drawn with exceptionally fluid port de bras and visceral life-affirming kicks. As the intensity of her movement increases, Guillem appears to be drawn into a whirligig where only her hands and feet are visible, thanks to Hulls's genius licks of lighting.

Push, the final duet, still brings the house down. How many other dancers in their forties could produce such a ravishingly romantic and sensually potent partnership? Or fill the Coliseum so majestically? Guillem enters, perched like a cherished goddess on Maliphant's strong shoulders, and then proceeds to unfold her body along his spine like a caress. Hulls's shafts of lighting cast a honeyed aura over their pairing, while Cowton's music provides velvet strokes of accompaniment.

The tender intimacy of Maliphant's choreography; the serene grace of its execution; the way he places his light-as-air ballerina on a pedestal while rooting her in his earthier self; how the weight of their movement is passed between them like a kiss; the rolling voluptuousness of their languorous connection: it really is nothing short of magic.

Sadly, this may have been the last London showing for Push, but the Spring Dance season now moves on with the ballet star Carlos Acosta presenting his Cuban-themed evening from tomorrow.

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