If Trio ConcertDance, the first programme to be presented in the Linbury, displayed the beauty of the Opera House’s shiny new £50 million second stage, then this latest bill — a collaboration between the Royal Ballet and London Sinfonietta — exposes its limitations.
Avid theatregoers — not to mention the downright nosy — will enjoy snatched glimpses of life backstage in this intimate space; the sight of a harp being unceremoniously waddled through the stalls between pieces (why no other exit from the orchestra pit?) is less romantic.
Music matters: this could be the glib subtitle of New Work New Music, which marks the RB’s first Linbury appearance. Isadora Duncan, that great pioneer of modern dance, believed steps should “spring from the music” and it’s this idea that’s explored in six mini works, all world premieres and all created on scores never before used by choreographers.
There’s no discernible mood to the following two hours; pieces range from a meditation on creation and control made on two stars (Goyo Montero’s Circular Ruins for Marianela Nunez and Thiago Soares) to a mini rave in rag-rugs (Something Borrowed by Calvin Richardson) and an all-women empowerment fest (Blue Moon by Aletta Collins).
There are also strong offerings by Kristen McNally, Alexander Whitley and Juliano Nunes. Though quality varies and a few ideas feel over-extended, the evening is exactly what the Linbury should be about: stretching, stimulating, showcasing.
Until February 9 (020 7304 4000; roh.org.uk)
