At some point, someone got carried away with the idea of Strictly Gershwin and no one had the courage to stop them.

With obvious reference to Strictly Come Dancing, it's an all-singing, all-dancing show set to the unbeatable George and Ira. There are tap dancers, ballroom hoofers and pretty ballerinas, plus a big-band and five singers including Broadway's Barbara Cook. Lights, film and dry ice - and an in-the-round Royal Albert Hall - complete the popular package.

It sounds like a great idea, and potentially it is, until you remember that ENB is a ballet company and Strictly Gershwin is aiming for the grandeur only MGM managed.

This is jaw-dropping folly. No mid-scale ballet troupe can match a Hollywood studio yet here is ENB tilting at production numbers for which it has neither the heart nor the heft. There's a not-very-good illuminated stairway, not-very-good film projections, and a not-very-good version of An American In Paris.

The original is the stuff of legend, while the dancers in ENB's version, including the Royal Ballet's guesting Tamara Rojo, just look silly.

The evening includes smaller-scale duets, and these are more successful as they catch the music's mood rather than miss MGM's budgets. Agnes Oaks and Thomas Edur were on top form in The Man I Love, as were Daria Klimentova and Friedemann Vogel in Summertime.

Apart from these, the eyes saucer at the mistakes. Why project massive images of Fred and Ginger while so-so tappers sweat away? Fred and Ginger are legends. Douglas Mills and Paul Robinson are not. Why put your ballet dancers on rollerblades? Why put them on stage with Lilia Kopylova? The Russian fox-trotter has a plump, propulsive appeal that makes even the best ballerina look thin and mean and scrappy.

Strictly Gershwin is the work of Derek Deane, a one-time director of ENB who made its hugely successful in-the-round Swan Lake . That wowed arena audiences around the world but this Gershwin folly makes you cringe.

• Until 22 June (020 7838 3100).