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With Agon, I really felt that the Company got down to business and the bill was on at last. This performance also had the late casting change with the inclusion of Wendy Whelan (replacing Megan LeCrone) and I quickly felt incredibly fortunate and privileged to be watching her. I don’t know what it is about a dancer or performance that straight away makes you think “this is right”, or how to analyse or describe that. Whelan’s performance excluded fake trimmings and ornaments; she did not seek to artificially impose any particular interpretation or style of acting (“this is how I think it should be done”). Through resolute attention to the basics, she commanded attention and directed it not at her, but at what she was doing, at what the choreography was doing – and at what it might be saying. I thought Albert Evans partnered her very well in the pas de deux; some may feel he was not at the same level and that there was not much rapport – but on the latter point, I found it most intriguing to see the abundance of physical contact contrasted against a mental connection that could be glimpsed but on the whole remained tantalisingly concealed – very much in keeping with Agon I thought. Other honours here to Sean Suozzi in the Sarabande, and especially to the second pas de trois threesome of Teresa Reichlen, Tyler Angle and Amar Ramasar.

Symphony in C is simply glorious and a superb way to end the programme. Most other posters and critics have heavily criticised the costumes but I found I rather liked them: the colour match between the satin bows of the women’s costumes and their shoes, and the welcome warmth they brought instead of a cold, clinical feel. As for the performance, I absolutely loved its unbounded energy and spirit and charisma – what a wonderful pleasure to be watching people who really look like they are happy to be here and are eager to please the audience – and how better to do that than by Symphony in C? There were so many big personalities in every movement here – from first movement demi-soloist Gwyneth Muller right through to fourth movement principal Tiler Peck (ultra-fast and crisp – and bright – not out of fear, mind – I think she was setting the pace!). Do they really turn so rapidly and advance so far down the stage as one in those chaînés? I need a replay – second time round – yes they do! Whelan made the adagio beautiful, though perhaps without hitting the heights of Agon again, and was also in danger of being overshadowed by her younger colleagues in the final allegro. The performance was perhaps best personified by Sterling Hyltin who with all manner of joyous and youthful radiance, extensions, poses and leaps, and great timing by partner Antonio Carmena here too, really gave full value to the life and bounce and above all, sheer fun of this movement.