Dance review: Scottish Ballet - Geometry and Grace

SCOTTISH BALLET: GEOMETRY AND GRACE *****THEATRE ROYAL, GLASGOW

Without any semblance of a narrative, the three works in Scottish Ballet's Geometry and Grace programme demonstrate that abstract doesn't have to mean esoteric or challenging. The material in this dynamic triple-bill may be endlessly complex for the dancers, but for those sitting in the auditorium, it's a breeze. From Frederick Ashton's 1947 Scnes De Ballet, through Val Caniparoli's brand new Still Life, to Ashley Page's 1994 Fearful Symmetries, there really is nothing to dislike here.

For those who prefer their classical ballet dressed up in starched tutus and pink pointe shoes, Scnes De Ballet ticks all the boxes. Yet, despite its traditional appearance, Ashton's post-war homage to geometrical patterning was ahead of its time. While the high leaps, precision movement and tight synchronicity suggest a company drilled to perfection, the dancers look uniform rather than identikit, with flashes of personality shining through.

Inspired by aspects of flight, Still Life is a truly collaborative work, making astute use of costumes, set and lighting design. With arms twisted like redundant wings, or torsos raised in a vain attempt to fly, the dancers are in complete control of Caniparoli's difficult but fascinating choreography.

So by the time we reach Page's tricky Fearful Symmetries, there's no doubt in our minds that this company can take on any challenge. Not just because they possess the technical ability, but because they talk to us with their bodies in a language everyone can understand.