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Cards on the table - I did not greatly care for "Chroma", which put me firmly in a minority in a packed house. The dancers were superb, no question, and clearly committed to their task. And there were some elegiac moments, to be sure, but I did not care for much of what they were given to perform. I cannot call them indignities, for had the dancers considered them so, they would surely have refused to perform, but I saw too many infelicities and, to my eyes, deliberate ugliness demanded of them. I quite agree that the RB should explore modern repertoire but, as in so many walks of life today, I rather doubt that everything that can be done, should (or need) be done. I applaud Monica Mason's decisions on putting this Bill together, but I doubt that we have seen "the future" of ballet here, any more than it was seen in Paris at the premiere of The Rite. There, I've said it, and am prepared for the Heavens to fall. (And whilst we're about it, what's all this in the Programme? "At the same time, in creating volume(s) of tone for the choreography to inhabit, the body can behave as a frequency of colour - in freedom from white: CHROMA." I am not entirely unlettered, and even dabbled in Philosophy in my younger day, but I am lost here. Does it mean that you can see the dancers better against a clear, bright background? And if not, what, pray?)

But things improved! "4 Temperaments" also used plain costumes and a fairly bright set, but worked a treat for me. I've always heard that Mr B much preferred working with his female dancers, and it shows here - by my count, just 6 chaps, but 19 girls.

And on to "DGV" - and, lo, there are 3 extra percussionists above the pit, in seats next to the stage. What can they be for? The set has been sufficiently described before; and, were I just listening to Michael Nyman's score, I think I 'd get a bit nervy, but as a pulse for dance, it is no shrinking violet and takes some beating! The whole piece MOVES, and could hardly do otherwise. Unlike the smaller scale Chroma, Christopher Wheeldon has created a work for the Company here, and I'd be surprised if it does not settle in its Rep. Tastes differ, but modernity of this kind seems to suit me very well. Some gorgeous moments for the Principal couples, with lots of well-integrated movement for the corps. Loved it, and the vision of Darcey "flying in", supported by Gary Avis is likely to stick in the memory for some time. (I fancy she might find it hard to retire should Wheeldon be around to create more work like this for her.) And the 3 drummers? They sat unoccupied till the big finish, when they underpinned a Riverdance moment - everyone suddenly on stage, and a big reel tune developing in the score. It looks like a super finish, and yet it isn't quite - for the music ends and the corps exits, to leave the 4 Principal couples whirling in silence till the lights go down. A lovely touch.

All in all, I was pleased to have been there - there is something of "the future" in it all, I guess. Time will tell - but I'm not sure what a lot of the audience at "Alice" would make of it. And so to bed...