Symphony In C

Did you know that people whooped at the ballet? As a male dancer, clothed in swathes of white, before a backdrop of soft blue sky peppered with cotton wool clouds, landed like a boss, rounding out an impressive series of acrobatic aerial twists that flung his lithely form across the stage, the audience cheered. And we don't just mean vigorous clapping. We're talking serious, full-throated, worthy-of-a-rock-concert hooting and hollering. Amazing. And of course he deserved it.

Symphony In C, brought to us by George Balanchine of the School Of American Ballet, is old school, a tribute to the golden era of classical ballet, and is presented tonight alongside a thrilling program, including Grand Pas Classique, Diana And Acteon and the pas de deux from Christopher Wheeldon's After The Rain. As well, new contemporary works by emerging names Alice Topp and Richard House ripple with athleticism and flourishes of thrilling skill, such as the aforementioned leap sequence. The theatricality of the piece is set up from the opening tableau: a dancer seems to float about the stage, wearing a crimson gown with a train as long and majestic as the Guo Pei extravaganza Rihanna wore to last year's Met Gala. As her gown is whisked away by invisible hands off stage, a male dancer is revealed as the muscle behind the magic. Later, moments continue to take the breath away — the troupe are a swarm of bouncing white tulle and classic routines, those incredible extended leaps as male and female pairs take turns showing off, and finally the orchestra's rousing rendition of Georges Bizet's Symphony No 1 In C Major.

Also enjoyable is the degustation mode of presentation, with delectable bite-sized delights served up in a variety of flavours. A thoroughly satisfying display of ballet's formal roots, as well as the potential for newer, more relaxed approaches.