The Financial Times
The programme is a fascination, even if its two novelties are second-hand: Liam Scarlett made his Viscera for the Miami City Ballet last year, using Lowell Liebermann’s piano concerto as score; Christopher Wheeldon created his Fool’s Paradise for his Morphoses troupe in 2007 to Joby Talbot music. But both are sprung from the Royal Ballet’s ethos, and both speak to the company’s dancers and to the company’s identity. They are at home on the Royal Opera House stage. The third part of the evening is Wayne McGregor’s Infra, which strikes me as entirely alien. Its cast is splendid, albeit deformed by McGregor’s manner.
We're lucky to be here at the start of Scarlett's career. Even luckier that Scarlett is not the only in-house choreographer: the progamme's Wayne McGregor and Christopher Wheeldon have equally strong ties with the company. The centrepiece is a revival of McGregor's Infra, which looks better with every viewing. Perhaps it is because the extremes of McGregor's language – its startling dislocations and eerie fluency – have become secondnature to the dancers. Certainly Infra's narrative subtext, with its sad, angry, anxious vignettes of urban life, reads with a haunting legibility.