Mastery of magical ballets

Balanchine's battery of three ballets has it all. Modern pyrotechnics with Agon, the smouldering sensuality of Prodigal Son, classical choreography in Symphony In C and, of course, sizzling Cuban sensation Carlos Acosta.

Bracingly modern Agon was scored by Stravinsky with the brief that it be an 'enormous finale' without any foreplay. It's a high-energy reply - all crooked crescendos and spiky splinters of sound - and Balanchine is a mischievous puppeteer, urging his dancers through clever classical footwork and ugly, out-turned modern moves, physical theatre and gender-crossed roles. Male pas de quatres become coy and distinctly fey. Females take on the swagger and gait of men. And then, just as they're clawing back poise, he cuts strings entirely, leaving them to lope languidly around the stage.

In contrast, Carlos Acosta as the Prodigal Son is a spring-loaded dynamo of energy, seduced by a Siren (Sylvie Guillem) and her oily slick of followers. With minxy high jinx, Guillem dances circles around our poor lad, eventually breaking him with a pas de deux that borders just shy of on-stage consummation. Such chemistry is hard to follow and Symphony In C - despite being a classical showpiece of 52 dancers and four lead turns - does fall a little flat. Footwork fluffs and limp chemistry between leads break the magic of an otherwise masterful ballet. But then, after Acosta and Guillem raised the barre, anything else was bound to be an anticlimax.

In rep until Feb 25 (next perf Wed), Royal Opera House, Bow Street WC2, 7.30pm, Feb 21 mat 1pm, £12 to £66. Tel: 020 7304 4000. www.royaloperahouse.org Tube: Covent Garden

The Royal Ballet: Balanchine 100 (A Centenary Celebration)