'Perspectives: Balanchine, Marston, Peck' review — this expressive triple bill is a real joy to watch

Read our review of Perspectives: Balanchine, Marston, Peck, now in performances at the Royal Opera House to 2 December.

Summary

• The Royal Ballet performs a triple bill of 21st-century work in Perspectives
• The expressive show features work by George Balanchine as well as Cathy Marston and Justin Peck
• William Bracewell and Matthew Ball particularly impress with their brilliant pas de deux

Three ballets for the price of one? As the woman sitting to my right says before the curtain rises, “it sounds like a steal”. And if you’re looking for variety, Perspectives: Balanchine, Marston, Peck certainly delivers. Offering a panoramic view of ballet in the 21st century, the programme moves through George Balanchine’s crystalline classic Serenade, the world premiere of Cathy Marston’s Against the Tide, a wartime vision inspired by Benjamin Britten’s Violin Concerto, and finally to Justin Peck’s Royal Ballet debut with the rhythmic and exhilarating Everywhere We Go, created in 2014. While they vary in emotional impact, together they present a full spectrum of expression.

Still, the link between the three is somewhat tangential – one could easily be replaced with another ballet fulfilling the same function. Balanchine’s famous, striking tableaux begin proceedings: under cool blue light, 17 women stand frozen with arms outstretched, as Tchaikovsky’s Serenade for Strings soars through the hall. As they begin to turn their feet out en masse in sweeping, synchronised movement, they transform into dancers before our eyes. The piece remains as plentiful as ever, inviting multiple readings or simply being enjoyed as a picture of an intricate, mysterious, perfect dance.

Despite its military references, after the glassy, full-bodied beauty of Serenade, the pivot to Marston’s Against the Tide feels somewhat hollow. With a set of giant stone steps taking centre stage, the dancers, when alone, can look like shadows in comparison to the structure. And yet, there are flashes of brilliance. The pas de deux between William Bracewell and Matthew Ball sends tingles through the audience; their bodies fold into each other, at times moving like one. Likewise, Melissa Hamilton’s emergence feels like a light breaking into a male domain.

Still, sandwiched between two genuine showstoppers, Against the Tide can’t help but feel like the dud of the evening. It is a light relief, then, when we move onto Justin Peck’s exuberant Everywhere We Go. Set to a specially composed Broadway- and jazz-infused score by Sufjan Stevens, the dance has a jolty, jack-in-the-box quality. With arms as angular as clock hands, the dancers launch themselves into pacy, up-and-down movements. Against a geometric black-and-white square pattern on the back wall, the dancers move like living extensions of the setting. Performed in monochrome costumes, each step is precise and measured. It is a real joy to watch.

While it may fall short of a completely fluid programme – and the nature of a triple bill inevitably invites comparison – it’s clear that each of the three works has its own distinctive, winning traits. For diversity alone, my audience neighbour was right: this is well and truly a “steal”.

Perspectives: Balanchine, Marston, Peck is at the Royal Opera House to 2 December. Book Perspectives: Balanchine, Marston, Peck tickets on LondonTheatre.co.uk

Photo credit: Perspectives: Balanchine, Marston, Peck (Photos by Tristram Kenton)