The Royal Ballet’s latest offering is a rather curious mixed bill containing contemporary, classical and carnivalesque works from three of its resident choreographers.
On the surface, each of them are tried and tested Opera House hits, but together the programme feels confused – with no common thread to weave them together.
It’s hard to imagine the average balletomane enjoying all three of these contrasting pieces equally. Contemporary fans will lap up the primal physicality of Wayne McGregor’s Obsidian Tear, whereas admirers of the more classical will be absorbed by the tragic love story of Marguerite and Armand.
And as for Elite Syncopations … it’s hard to imagine anyone not adoring the array of quirky, colourful company members as they take us on a romp through the stylish ragtime era.
What you enjoy most will depend on personal taste, but it’s very hard to resist Alessandra Ferri’s Marguerite. Now 54 years old, she still floats effortlessly through Ashton’s choreography, her petite stature suited to the vulnerability of fragile Marguerite.
First published on BroadwayWorld.com