Next May will be the 100th anniversary of the Paris debut of Serge Diaghilev’s Ballets Russes. The legendary troupe still shapes the theatrical landscape, and it’s no surprised that tributes are inked. The Australian Ballet has its oar in early with this double bill — first a reconstruction of the little-seen Les Présages by Diaghilev protégé Leonide Massine, and then a reworking of The Rite of Spring.

Rite caused a theatre punch-up when first performed in 1913, with Stravinsky’s dissonances and Nijinsky’s flat-footed “dancing” offending all and sundry. Many choreographers have attempted to recreate its power. Some have succeeded, notably Pina Bausch, but many have faltered, including Stephen Page whose version is for the dancers of The Australian Ballet and Bangara Dance Theatre, the troupe with dancers of indigenous heritage.

Page’s idea is potent. He envisions Rite as the forces that shape Australia’s ancient landscape, and the design and mood do give a sense of the vast, inhospitable Outback. What you don’t get is a sense of nature’s power and mystery. There is a lot of rolling around. Excepting the opening scene, the ballet dancers are ill served. The dancers of Bangara fare little better. They carry bowls of smoking coals then daub a man in blood. Despite the laurels at its debut in 1997, it now feels limited.

Much better was Les Présages, created in 1933 and “reconstructed” by the ballerina Tatiana Leskova. What you see in this version is the detail and ingenuity of Massine’s choreography. It’s one of his “symphonic” ballets, so‑called because it’s set to symphonic music, in this case Tchaikovsky’s Fifth. This caused a kerfuffle back in the 1930s when music purists thought it undignified to dance to concert hall music.

Excepting some drab costumes, overwrought make-up and histrionic lighting, the piece has rigour and flair. The dancers are able, and convincingly phrase Massine’s ingenious styling, such as his articulated arms. This, combined with ballet’s grace, reminds you that the great George Balanchine wasn’t the only one thinking about neo‑classical ballet in the 1930s.
Until 11 October (0844 412 4300)