The RBS annual performance always manages to throw up a few surprises. The actual programme for one thing isn’t usually described in any detail in advance and the exact mix of lower school and upper school students is not often stated in advance. Recent performances have included a fair amount of pieces commissioned for the occasion, sometimes seemingly with the aim of getting as many students on to the stage as possible, rather than to create a lasting work.

Hence it was a pleasant surprise too see some real, testing choreography on the programme, in the form of Ashton’s Monotones II and La Valse. Monotones II has been conspicuously absent from the Royal’s programming in his centenary year and is performed at bafflingly infrequent intervals by the company. La Valse has been presented by the school before, and returns to the Royal’s repertory next season. The programme states that a planned performance of Checkmate had to be deferred due to lack of stage rehearsal time.

Monotones II is a challenge even for experienced principal dancers: two men partner one woman through very precise and elegant manipulations and lifts in a sleek pared down language where every gesture must be carefully judged and each arm or leg must perfectly mirror that of the other performers. It was a difficult task for the performers, and not everything was as quite as smooth and flowing as it might be, but they gained in confidence as the work progressed. The three performers here are all heading off to different companies in Germany and America.

La Valse is a different kind of challenge. This is a highly atmospheric work, couples waltzing in a dimly lit ballroom, where the music builds and builds into something oppressive and frantic, as it finally suggests a histrionic dance to death. The students caught the opening youthful charm but the haunting sense of doom that should build up wasn’t there. Perhaps this isn’t really such a suitable choice for students - it’s a tempting one, as it requires a big cast and gives the boys in particular plenty to do (and they clearly relished it) but it asks for more dramatic nuance than can be expected from 18 year olds.

The Upper school dominated the programme – no little boys dancing the hornpipe or country dances this year, I presume these feature only in the Linbury performances now.. The lower school were only featured in the opening work, Allegro de Jeunesse, a new creation from Liam Scarlett. He is a pupil of the upper school who joins the Royal this year, and this is his second work for the school matinee (Monochromatic was featured last year, to general acclaim). Allegro de Jeurnesse was set to Tchaikovsky’s 3rd piano concerto, agreeably danceable music. Scarlett managed a very large cast of varying ages (year 10 and below) with considerable tact and charm and a strong sense of organisation. Unusually for a young choreographer he seems to be more at home handling large numbers and blocks of dancers rather than individual dancers or pas de deux. It looks as if he has started out thinking on a big scale and worked down to the detail rather than the other way round. Ruth Bailey (year 10) was a very composed leading lady.

The second half of the programme gave us a more modern work, Uneven Ground, from Paul Boyd. This has a lovely atmospheric soundtrack of Latin American songs from Mercedes Sosa, who I vowed to go and find out more about. It allows the boys to experiment with some more contemporary moves. One of the “boys” removes his cap to emerge as a girl which is a cue for some teasing and flirting. Jade Payette had a great deal of fun with her role.

The grand pas from Raymonda Act 3 was not quite the version in the Royal’s rep (Nureyev’s setting in the white and gold designs) but instead a rather cut down version danced in red costumes by a corps of 16, with Milena Sidorova and Alexander Jones as the leads. This was danced with verve and enthusiasm, but I thought the stage at times looked rather bare and it was missing the feeling of grandeur that the music suggests. Sidorova (who joins Dutch National Ballet) did a competent job of her variation (with the handclaps) but there were no fouettées in the text here. (I have a memory of Nunez while still at the school confidently whizzing through a string of fouettées but I can’t quite place the memory).

The defilé that closes the programme is always a thrill, as the stage fills with class after class, each getting a rapid chance to make an impression. It was the boys of the final year who had the best of it here, getting the cheers for some spectacular jumps. Generally, that seemed to confirm the impression of the afternoon: the boys, for whatever reason, made the bigger impression. I didn’t come away with an overpowering impression of any single individual. Nevertheless, there is an overpowering sense of joy and a real buzz of achievement as all 200 dancers pour onto the stage. Terrific stuff.

My own highlight was Paul Boyd's Uneven Ground. I was mesmerised, and I thought Jade Payette was a joy to watch.

I really hope this piece is reproduced by the Royal Ballet, either in the main auditorium or the Linbury. It would certainly be a more worthwhile, and entertaining, addition than last season's "One mangled violin, three dancers acting stoned"

Do you know which company Heather Chin will be heading to?

Thanks.

>Do you know which company Heather Chin will be heading to?

Stuttgart Ballet

I'm no expert, having only come to ballet in the last few years because of my children, but here's what I thought:

They started with a polka by the Year 7s - which is the main thing I went for - actually I think it's an effective demonstration of how they start out at the school compared to the Upper School dances.

Then:

Paquita - Pas de Trois - Ayano Tsuchiya, Briony Viele, Sergiy Polunin (I saw him at the White Lodge fair too - he's only 1st Year, but looks more "senior" than that - lovely dancer)

The Eyes That Gently Touch - Kristen McGarrity, William Moore, Pattra Sarikaputra, Alexander Jones, Heather Chin, George Hill. I was very worred about one of the lifts that made it look like Heather (I think) was about to be thrown to the floor, but thankfully she wasn't

Allegro de Jeunesse - coreographed by Liam Scarlett with a cast of lower school students. I really enjoyed seeing this again at the Opera House as I could appreciate the patterns more from my higher vantagepoint. The students looked like they thoroughly enjoyed dancing this. My only, very slight, criticism was the coreography of Ruth Bailey's solo - just a bit static for my liking, but she performed beautifully (especially as I think she might be recovering from an injury).

Giselle - Excerpts from Act 1. I think this must have been years 10 and 11. James Hay carried off his double tour en l'air (now my spelling runs into trouble) with apparent ease.

The Nutcracker - Waltz of the Flowers. Claire Calvert, Annie Carroll, Callie Roberts + others! I loved Callie, but then I'm biased - I know her parents

Uneven Ground - FABULOUS. I enjoyed this more at the Linbury than in the House. They danced it well both times I saw it, but you could feel more of a connection with them in a smaller venue - and see the way they interacted together more. I want the music ........

Coppelia - Excerpt from Act 3

Piano Concerto No 2. I saw this at YBDY too and thoroughly enjoyed it both times. My 10 year old daughter's favourite.

BTW - my son was dancing there on his 12th birthday - that's a birthday to remember isn't it Now my fingers are worn out ......

And, also, congrats for your son! You must be one chuffed mum. Happy Birthday to him as well - July's a great month for a birthday!