On the heels of a successful spring season, Scottish Ballet's new, four-part autumn programme debuts with high hopes. Ashley Page, artistic director since 2002, is on a mission to upgrade to world class. It is somewhat disappointing, then, that his latest choreography, Nightswimming into Day, opens on unexpectedly shaky ground. From the beginning, Jon Morrell's angular design takes a prominent role. It's a busy, architectural set, a literal take on the title with moving diving boards, beach house and giant gauze screen diver. Against these, Page's choreography struggles to make impact. Dancers pose and pair to and fro, the company of 16 trying on a succession of moods in an attempt to make the journey from dark to light with watery undertones. It is unconvincing and too long. The promise of sensuality remains submerged and it is left to the music of Brian Eno, J Peter Schwalm and the nerve-catching beeswing shimmer of John Adams's Shaker Loops to reach us, leaving the bathing belles and boys indistinct and confused.
By contrast, two sharp little ballets by Dutch choreographer Hans van Manen cuddle up in the middle of the programme. Both play with couples in love. The provocative high-heeled Twilight features music up front - a piano hammered in strange, John Cage ways. Two Pieces for Het delves deeper into the heart, with Claire Robertson marking a lovely quick quick slow beat that melts into her partner.
In the skin of William Forsythe's magnificent 20-year-old Suite from Artifact, the company returns to finish in five-star force. Clear choreography, on pointe and off, sweeps them over a clean stage. We are transfixed. The magic of the corps, regimented in line, signals a classic form into new territory. Nothing is lacking here and you leave with the sense you have peeked across a galaxy and discovered life. A rare treat.
· Touring Scotland until October 16.
