If the Royal Ballet’s recent triple bill of Chroma, Tryst and Symphony in C did anything, it showed quite clearly that ballet is not dead, dying or even momentarily dormant as has occasionally been debated on this site. It is in full swing, vibrant, growing gloriously and proudly relishing both its heritage and its future—at least in London.

Although I was looking forward most to Wayne McGregor’s Chroma after seeing his Dyad 1929 in Australia in 2009, it was George Balanchine’s Symphony in C, which closed the Royal Ballet’s program, that was the standout work for me. The array of principals was simply dazzling and their dancing was equally dazzling.

Leanne Benjamin, partnered by Johan Kobborg, led the first movement. She was beautifully self-assured, a ballerina always aware of her audience with a technique that shone from the moment she stepped onto the stage. Alina Cojocaru, partnered by Valeri Hristov, was grace and poetry epitomised in the second, andante movement. In particular, Cojocaru’s exquisite arabesques traced a long, expressive arc through space as the leg lifted and once the high point had been reached the line seemed to extend forever. Roberta Marquez and Steven McRae in the third section performed in almost perfect unison, fulfilling the challenging requirement of the choreography for this scherzo movement. It was a thrilling display with Marquez performing the almost unimaginable by not only keeping up with McRae’s stunning jumps and turns but doing it with an expression of joy coursing through her whole body. In the fourth movement, before all the principals joined them for the final section, Laura Morera and Richard Cervera made a strong impression.

In each movement, the corps de ballet and soloists provided a beautifully executed backdrop of dancing for the principals. Symphony in C was staged for the Royal by Patricia Neary and a huge bouquet must go to her for giving such clarity to a work that can too often have a look of sameness across its movements.

The program opened with Chroma, Wayne McGregor’s 2006 commission for the Royal. As in his Dyad 1929 McGregor explored the extreme possibilities of the human body in motion. However, with Chroma being performed without the women wearing pointe shoes, the choreography had a quite different feel, more fluid perhaps, or more complex in its exploration of how the torso and upper limbs can bend, fold and extend.

The outstanding feature of Chroma to my mind though was its collaborative aesthetic and what emerged as a result. The set by architect John Pawson was extreme in its minimalism and reflected Pawson’s interest in Cistercian architecture with its emphasis on simplicity and the stripping back of non-essential elements of colour and embellishment. At first the set seemed to consist of a large screen or wall stretching across the stage space. It was positioned about one third of the way down the stage and appeared to have a white rectangle set slightly above the stage floor at its centre. But as the set was lit (by Lucy Carter) in different shades of white, grey and black, it became clear that the rectangle was actually a void. In it we occasionally saw dancers appear and disappear and we watched as the rectangle/void advanced and receded with changes in lighting.

Against the simplicity of the set, with its clean shapes, limited colour palette and play with volume and void, McGregor’s choreography looked on the one hand even more complex and exploratory, yet on the other it was tempered by the lack of overt scenic embellishment. It was an intellectual exercise in contrast to the Balanchine ‘don’t think, just do’ principle.

The third work on the program, Christopher Wheeldon’s Tryst looked a little contrived eight years after its premiere, especially during the first movement when its upturned feet and awkward contractions of the arms from the elbow looked awkward and without purpose. The high point of this work has always been the central pas de deux and on this occasion Sarah Lamb, with her beautifully proportioned body, danced eloquently.

Symphony in C was danced to the Bizet work of the same name, Chroma was danced to an amalgam of music by Joby Talbot and Jack White III and Tryst was danced to an orchestral work by James MacMillan. Each was conducted by a different conductor with Tryst being conducted the composer.

Michelle Potter, 30 May 2010

Postscript: on a musical note it was refreshing to see that the dancers acknowledged the orchestral players with due deference by bowing when the conductor asked that the musicians be acknowledged. The Australian Ballet habit of having the dancers lean into the orchestra pit and clap for what seems like an inordinate amount of time seems to me undancerly and to be taking acknowledgment too far.