Frederick Ashton's Symphonic Variations formed the centrepiece of this unusual mixed bill performed by a classy ensemble from the Royal Ballet. The work is often described as a quintessentially English pastorale, but its opening tableau of statuesque figures evokes an idea of classical antiquity. Ashton melds formal patterns with imagery from nature, leaf-like lifts, trailing willow arms - until a moody mysticism suffuses the stage.
Ashton's Voices of Spring, danced with sunny brio by Alina Cojocaru and Johan Kobborg, effortlessly combines lyricism with attack, and is laced with a playful musical wit. It is the kind of crowd-rousing display that suits programmes of highlights; as is the closing item, Ashley Page's uncharacteristically frothy Larina Waltz for five couples.
Kenneth MacMillan was inspired by watching the young Lynn Seymour at the barre to make the duet in Concerto, interpreted here by Christina Elida Salerno with Martin Harvey as a suitably self-effacing partner. Salerno's lovely opening back bend yields to a series of soft lifts and turns, many unusual, none forced.
Christopher Wheeldon's enigmatic Tryst, meanwhile, echoes the waywardly sliding notes of the score with original and unpredictable partner work, full of strange swivels, leans and grips. Wayne McGregor's Qualia is flashier, funkier and more familiar, Lauren Cuthbertson and Edward Watson are alternately hot and cool as they grapple and shrug in designer underwear.
Perhaps there was a surfeit of serious duets, but the fey, winsome lads and lasses of William Tuckett's folksy Puirt-a-Beul were no compensation. And not even ballerinas look good in knee-length socks and schoolgirl sweaters.
