Balanchine: Three Signature Works ‘This was Balanchine at his best’

The Royal Ballet’s triple bill pays tribute to the man known as Mr B in a programme which presents three of his most famous works. Staged by one of his former ballerinas, Patricia Neary, the ballets are a fine illustration of the difference between Balanchine – all legs, high extensions and off-kilter balances – and Ashton, whose works often focus on quick, neat footwork and glorious use of the upper body.

At the performance I saw, a few injuries meant that there were a number of cast substitutions in all three pieces. The evening began with Serenade, created in 1935 and set to Tchaikovsky’s famous Serenade for Strings (the waltz is achingly beautiful). It still has the power to move and the dancers rise to the challenge, ebbing and flowing across the stage in intricate patterns, with Marianela Nunez shining in her pas de deux with Matthew Ball.

I am not a fan of Prodigal Son. Made in 1929, it must have been shocking in its day but is now more of a curiosity. The set, by Georges Rouault, is painted in a childlike fashion and the choreography is stylised and almost pagan in feel. There are visually arresting moments, such as when the bald-headed drinking companions scuttle across the stage in pairs like racing crabs, but overall, it left me cold. It does not help that Prokofiev’s music is discordant. After enthusing over his sublime scores for the recently performed Romeo and Juliet, and Cinderella, this was a disappointment.

Nevertheless, praise must go to Leo Dixon, who stepped in for Steven McRae and delivered a powerful performance as the Prodigal Son, with impressive elevation and fine acting. Fumi Kaneko made a seductive Siren, all erotic legs and hip thrusts.

The evening closed with the scintillating Symphony in C, set to Bizet’s joyous score. It is hard to believe he was only 17 when he wrote it. Mayara Magri with William Bracewell dominated the first movement, and Annette Buvoli is always a pleasure to watch. Melissa Hamilton was cool and remote in the adagio section and the entire company fizzed with energy for the exhilarating finale. This was Balanchine at his best and thanks must go to Neary for infusing this very English company with a dose of American pizzazz.