Boston Ballet30 years after the Boston Ballet last performed in London, the distinguished company led by Artistic Director Mikko Nissinen commence their 50th anniversary celebrations with their professional début at the London Coliseum. Showcasing the company’s skill and diversity, they are presenting two programmes, of which this is the second.

The three works on offer complement each other beautifully: William Forsythe’s The Second Detail, Christopher Wheeldon’s Polyphonia and Jiří Kylián’s Bella Figura. These pieces provide the company with quite a challenge, as the vast range has such strong technical and artistic demands, but the Boston Ballet fully embrace this and show that their tremendous versatility is something to be applauded. Under Nissinen’s leadership, the company is developing and transforming, focusing on presenting dynamic neo-classical and contemporary works by new choreographers as well as mastering traditional full-length pieces.

Opening the performance is The Second Detail — a fusion of classicism and physicalisation that creates an impressively accurate yet powerful number, set to synthetic-sounding music by Thom Willems. Forsythe’s clever choreography not only allows the dancers to show their strong ensemble work, but also allows individual artists to define themselves with flair and personality. The first impression of the stage looks crisp, almost clinical, perhaps somewhat reminiscent of a blank canvas or rehearsal space. Nevertheless, each dancer energetically brings the icy cool atmosphere to life with vigour and originality, using their bodies with great awareness and articulation. At times the company move as a single unit, but more often Forsythe creates stimulating visual effects by juxtaposing contrasting movement phrases, which are consistently delivered with clarity and masterful precision. He is obviously proud of his subtly forceful display of talent and kinetics, epitomised by the dancers calmness as they patiently wait on chairs at the back of the stage — as if their multiple pirouettes, leaps and entrancing performances were a mere walk in the park.

Christopher Wheeldon’s Polyphonia is a dynamic display of various pas de deux sections, both classical and contemporary. Set to an incredibly complex piano score by György Ligeti, we see the dancers as real athletes, appreciating every single working muscle. This piece has been described by The Boston Phoenix as “a leotard ballet”, and in many ways this is true: stripping the performance down to its barest and purest form is certainly refreshing. The audience are enthralled by each couple as they explore endless possibilities, manipulating their supple bodies in a series of highly innovative lifts. Lia Cirio deserves special mention here for her superb ability and control, but also her serenity that made it impossible not to be drawn to her, particularly during her awe-inspiring backwards walkover over her partner’s body. The different sections of Polyphonia vary somewhat, occasionally revealing a sense of fragility and delicacy, and sometimes more attack to reflect the essence of the music.

The conclusion of the evening is Jiří Kylián’s Bella Figura, a journey towards light in many ways. In April 2011 the Boston Ballet became the first American company to perform this masterpiece, which is almost a transcendent piece, focusing on theatricality as well as technical ability. The intricacies in the choreography are always well-executed, at times successfully capturing an animalistic starkness that swiftly breaks down into a rag doll-style pas de deux, which differs so much from the earlier sections. The baroque score accompaniment is an accurate depiction of the intensity felt, contrasted by moments of silence, and layering determination and domination on top of an earthy, grounded emotion. There is an inexplicable sense of harshness and struggle throughout, almost like a bad dream, yet the beauty is undeniable as the curtain moves away to reveal the entire group’s uniform of red, billowing skirts. The physical appreciation of these artists is heightened by the fact that they are all topless, hinting at fiery passions and ambitions with a stage adorned with naked flames.

The Boston Ballet write that they hope that this visit to London will develop into a long-lasting relationship with our capital city, yet it is definitely us who should consider this a privilege. It would be a crying shame if they did not return to England very soon.

The Boston Ballet is playing at the London Coliseum until 7 July. For more information and tickets please visit The Boston Ballet website.