Scottish Ballet, Queen Elizabeth Hall, London

There's a lively confidence to Scottish Ballet's latest bill. The repertory is uneven, but the dancers are bold. The company's London appearances are part of Dance Umbrella – bringing director Ashley Page full circle. This festival was an obvious influence on him as a young choreographer. It's still an influence on Scottish Ballet. This programme includes works by Umbrella regulars Stephen Petronio and Trisha Brown, plus Page's own new Pennies From Heaven.

There's a lively confidence to Scottish Ballet's latest bill. The repertory is uneven, but the dancers are bold. The company's London appearances are part of Dance Umbrella – bringing director Ashley Page full circle. This festival was an obvious influence on him as a young choreographer. It's still an influence on Scottish Ballet. This programme includes works by Umbrella regulars Stephen Petronio and Trisha Brown, plus Page's own new Pennies From Heaven.

Petronio's Ride The Beast was Page's first commission to an outside choreographer. It's a mix of Radiohead and Benjamin Cho's flashy costumes.

t starts with a man in a spotlight, isolated – until a woman leaps out from behind him. Groups of four dancers cross and recross. The movement is often fast and aggressive, limbs swung high. Dancers push between each other, or manipulate each other's movements.

Ride the Beast is a hectic, noisy work, a jumble of poses and attitude. It's put across by the company's energy. At its first performance, a year ago, the dancers seemed underpowered. Now they move with considerable bite, showing complete confidence in Petronio's swaggering moves.

Trisha Brown's For MG: The Movie makes a complete change of pace. A backdrop of pipes and rivets shows through golden haze. Alvin Curran's music mixes drifting piano lines with industrial clanking. The whole setting suggests steampunk. The dancing is long, slow and serene.

Very long: and its very slow progression can be testing. But Scottish Ballet's dancers have found a new focus and weight in Brown's choreography.

Page's new Pennies From Heaven is unexpected. This choreographer goes in for athletic moves and ambiguous scenery. This time, he's doing a light, glossy closing number, drawing on 1930s songs and black and white movies.

Pennies from Heaven is much too long, but it is relaxed and confident. Antony McDonald's set and costumes are sharply designed, while the dancers make the most of their soloist opportunities. The set is a bar, peopled with 1930s movie types. Page's choreography is a conventional mix of ballet and ballroom, plus a few rolls on the floor in the pas de deux.

Sometimes Page's dancers lipsync to a period microphone – which is a reminder of the other Pennies from Heaven, Dennis Potter's celebrated TV drama. That was daring, where this is friendly, but tame.

Touring to 11 October (www.scottishballet.co.uk)