Review: PERSPECTIVES: BALANCHINE, MARSTON, PECK, Royal Ballet And Opera

The Royal Ballet season continues with Perspectives: Balanchine, Marston, Peck. A triple bill that will supposedly “ignite the imagination” - stir, perhaps; ignite, not quite.

Opening the evening is Balanchine's 1935 Serenade. The company danced it last season, so the mood is still fresh. Serenade is a very well known ballet, so this means many have a consummate point of reference. The first cast night danced well but it was only Leticia Dias as the Russian Girl who offered a new proposition. She's an exciting dancer no doubt, full of freshness and risk taking, but the role calls for unlimited ballon, and this aspect needs a little more work. Fumi Kaneko as the Waltz Girl is endless limbs for days but her interpretation lacks something - drama, yearning, spirituality…something else is still very much needed.

The middle work was the new creation of the night. Cathy Marston’s second piece for the main stage Against the Tide. Marston is known as a narrative choreographer, but this time it was Benjamin Britten’s Violin Concerto that acted as the catalyst for creativity. 

The work feels in limbo, as there isn't enough pure dance for it to be an abstract work, yet there isn't enough narrative for it to be considered a story ballet. The cast of nine are just listed as names in the programme, yet their material - especially the lead four - suggests characterised movement…so for once I'd argue that an existing narrative would really help the watching experience.

I find the Britten a less than appealing score, so this doesn't help matters, but one can't deny Marston’s skill at creating emotive partnering. Her duos tie themselves in knots, and the end result often reads like a physicalisation of emotional turmoil. The overall vibe is impending doom and homoeroticism, and while I appreciate the representation the whole isn't rocking my world.

Closing the evening is Justin Peck’s 2014 Everywhere We Go. Peck is a big deal in America, specifically New York City Ballet, so 2025 feels well overdue for a Peck work to join the Royal Ballet repertoire.

Everywhere We Go isn't a perfect piece, being one of Peck’s earlier works it has weaknesses in relation to overall structure and connectivity, but if you're looking for worthwhile motifs and material to challenge and inspire the dancers - then here it is.

The energy and joy radiating from the stage was palpable, and this fact shouldn't be taken lightly. Dancers deserve to dance, and this they are. The score was commissioned and written by musician Sufjan Stevens, and it's a wild ride no doubt. Unpredictable and exuberant, it alone is probably responsible for the unconventional structuring of the ballet, but I'd say it's worth it just to revel in new, worthwhile classical music composition.

Elsewhere we have a kaleidoscope backdrop by Karl Jensen and masterful lighting design by Brendon Stirling Baker. The costumes designed by former New York City Ballet principal Janie Taylor serve incarceration, sport chic but most importantly highlight the limbs, specifically the arms. This immediately makes one realise the importance of port de bras, and how it often doesn't have enough emphasis in contemporary (both meanings) creations. 

I was lucky enough to see the original cast perform the work in New York, so that can be difficult to let go. That said, the London troupe absolutely picked up on Peck’s dynamic athleticism. He does wonders with arabesque whether playing with balance or projection, and the whole group dance throughout…no standing around for the corps de ballet or unnecessary emoting for the principals. We see movement, spatial tension through patterning, whirring, spinny phrasing and moments of much needed intimacy and calm. 

Marianela Núñez in the pas de deux role is able to show her luxurious athleticism, Mayara Magri brings precise, daring movement and Sae Maeda steals the limelight with her dynamic chicness. I enjoyed Reece Clarke’s emotive reading of the material, and Luca Acri can do no wrong for me - such a refreshingly honest dancer.

For first timers this bill will offer a lot in relation to perspectives…for old timers I'm less sure. I wasn't disappointed but my heart didn't soar. I think it's a combination of both underwhelming choreography and dancing that lacks a transcendental component. I probably sound like a downer, but will continue to want for more. Why? Because I know it exists and both the art form and we the audience need it! 

Perspectives: Balanchine, Marston, Peck performs at the Royal Ballet and Opera until 2 December 2025