BRB bravely came to Cheltenham with three unfamiliar works, one formally classical, two adventurously contemporary, but happily found themselves dancing for an almost full house. It is interesting that it was the classical opener that received the least applause.

Mozartiana, George Balanchine’s last completed work, is danced to Tchaikovsky’s musical tribute to Mozart. I know that I am in a minority when I fail to respond to the renowned choreographer’s cold classicism, but in Cheltenham the audience seemed to agree with me. Dressed in black and white, the dancers go through a series of symmetrical variations to Tchaikovsky’s sugary music, for all the world like a box of chocolates sprung to life. There is a lively solo in the middle from Jonathan Caguioa – like Harlequin dressed as Little Lord Fauntleroy. Pretty to look at, well danced, demanding little of the dancers, the piece gives little to us. Suzanne Farrell, the original 1981 lead, said “this is what heaven must be like!”. If heaven is eternal rest, this is a suitable accompaniment. I am a great admirer of the Dutch choreographer Hans van Manen, who over the years has created several works for the Royal Ballet, including the wonderful Grosse Fuge. Twilight, made in 1972 to music by John Cage, is a passionate duet, full of fury and aggression, which finally resolves in an exhausted truce. Here Victoria Marr, dancing the first half in very high heels, comes into her own as a dancer of terrific dramatic ability. It’s a technically demanding piece in which she is partnered by the excellent Robert Parker, happily returned to dancing after leaving to become a commercial pilot.

The climax of the evening was the world premiere of Garry Stewart’s The Centre and its Opposite. It’s danced to a rhythmically powerful electronic soundscape by fellow Australian Huey Benjamin. Dusty Button is particularly impressive as the piece takes the 14 dancers a long way from their classical training, into an exciting, confrontational power-struggle, which they must find as satisfying as the audience.