New York City Ballet, Sadler’s Wells review: Refined production takes speed and athleticism to new territory

The famed company returns to London for a show in Sadler’s Wells that shuffles the history of ballet, past and present

The New York City Ballet in Justin Peck’s ‘Rotunda' (Erin Baiano)

Back in London for the first time since 2008, New York City Ballet is in joyful form, forward-thinking and sizzling with energy. This programme is dominated by new works and fresh approaches. Speed, athleticism, and musicality are still company hallmarks, but they’re taking them into new territory.

One of the world’s major companies, NYCB has always been fleet of foot. Its founder, choreographer George Balanchine, gave it a focus on music and pure movement over story ballets or big productions. It can be hard to move on from a legacy of genius; NYCB has had stormy changes of leadership, but there’s no sense here of being overwhelmed by the past.

Rotunda, by the company’s resident choreographer Justin Peck, is a relaxed showcase for 12 dancers. Nico Muhly’s score is brisk and bright, full of chattering woodwind. Groups of dancers run in, flow into groups and solo moves, or pull back like a retreating tide. These are smaller waves, in sunny weather: it’s a friendly piece, a chance for everyone to shine. Miriam Miller moves with bold scale, then finds softness inside the big moves.