© Asya Verzhbinsky RB 'Tryst' reviews 'Month in the Country' reviews RB 'Leaves are Fading' reviews 'Leaves are Fading' reviews Palmer in reviews Oughtred in reviews recent RB reviews

Tryst is a plotless work set to James MacMillan's music of the same name, and has four pairs of soloists, a coups and Darcey Bussell and Jonathan Cope as the lead couple. In structure it was at times reminiscent of MacMillan's Concerto - like that it is built around a beautiful central pas de deux, where the participants approach each other slowly and ceremonially across the stage. There are moments too when the corps echo the movements of the soloists in ways that recalled Concerto. But although the abstraction and the leotards also suggested Balanchine, this was decidedly Wheeldon's own, very distinctive work. There are striking motifs of curiously angled hands, flexed feet, and a fascination with the floor which appear and reappear in various configurations - too much to take in at first viewing, but very densely and carefully worked. In the central pas de deux, Cope folds Bussell through a series of impossible poses like a piece of origami. It's remarkable feat of partnering and totally unselfish - everything he does is to present her and her beautiful feet exquisitely.

The central pdd from Christopher Wheeldon's Tryst
Photograph by Asya Verzhbinsky

MacMillan's music is not however, the most immediately danceable work, and not easy to get to grips with - Wheeldon has given himself an uphill task in some of the sections. It's also perhaps a pity that Bussell and Cope are on stage for such a short amount of time. At the close a clearly delighted Bussell leapt over her bouquet to bring on Wheeldon and the rest of the creative team (very striking lighting from Natasha Katz). Trust needs a longer look to get the measure of, but there are some fine details in there. It was perhaps too cool in mood to rouse the audience at the start of the evening.

Leaves are Fading is the third work by Tudor to be added to the Royal's repertory in the last couple of seasons, and it suffers by comparison with his more dramatic and tighter structured Shadowplay and Lilac Garden. The four different pas de deux for lovers are not strongly enough differentiated from each other, despite the best efforts of the dancers. The costuming for all the cast is very similar and the cast list continues to refuse to tell us who is partnering who - all this leads to a sense of detachment rather than the intimate involvement which is needed. Perhaps this might work better in a smaller venue. There is some beautiful dancing here, with Cojocaru and Kobborg (the only dancers explicitly listed as appearing together) in very fine form.

A Month in the Country offered a marked contrast to the rest of the bill, offering a straightforward narrative and powerful conflicting emotions. There were many pleasures here in the supporting cast: particularly Vanessa Palmer as real character as the maid, with a zestful presence in the 'cherries' dance with Beliaev. Natasha Oughtred has also developed a strong and entirely credible presence as Vera, touchingly adolescent and infatuated. Cope's Beliaev looks as if he's not quite sure of what's going on all around him, faintly bemused by the havoc he's caused. Guillem didn't disappoint her many fans, and the work has lost none of its power to move and enthral the audience.