Contemporary crackers

Triple Bill
Royal Opera House, last perf. 15 May

There was a time when the thrill of a ballet première could be sensed the moment you entered the theatre. Today, the disillusioned public, tired of the high percentage of choreographic garbage it is frequently subjected to, takes little or no notice. It’s a pity, for I think that Liam Scarlett’s Asphodel Meadows deserved a buzzier atmosphere than the one that greeted its opening last week — even though there were a good number of ovations and calls at the end.

Set to Poulenc’s bubbly Concerto in D minor for two pianos and orchestra, the new ballet is a visually enticing example of outstanding choreographic composition, in which the classical idiom is cogently manipulated, though never betrayed. The overall effect is as sparkly as the music — indeed, musicality is one of this choreography’s most delectable ingredients — both in the now pleasantly quirky, now classically constructed choral moments and in the three dynamically contrasting duets. Joyous as it may look, the piece is also underpinned by references to death and recurring moments of sadness, mirrored in a masterly way in the dark hues of John MacFarlane’s intriguing costumes and effective sets. But the truly fascinating element of this new work is, in my opinion, the interaction between balletic codes and non-balletic ideas. Thanks to Scarlett’s refreshing choreographic inventiveness, the dancing never becomes trite or tiresome as there is always a surprising and unpredictable choreographic effect in store, whether it be an unusual thematic development or an intentionally anti-climactic ending. All in all, it is a massive achievement for a 24-year-old choreographer, and a work that restores the hopes of those who believe that ballet lies agonising on its deathbed.