In mid-20th century New York, a vibrant dance culture flourished. George Balanchine, a pioneering choreographer, was developing a new style of American ballet marked by fast, angular movements. Meanwhile, in Harlem, the Cotton Club and the Savoy were famous for their energetic dance floors, where performers like the Nicholas Brothers captivated audiences with their acrobatic tap dancing. These contrasting styles—Balanchine’s refined ballet and the lively, improvisational dance of Harlem—reflect the dynamic dance scene of the time. English National Ballet’s latest triple bill offers a glimpse into this era, with a distinctly American flavor and a strong rhythmic pulse. One of the highlights of the performance was Balanchine’s Symphony in Three Movements, a piece created in 1972 as a tribute to the composer Igor Stravinsky. Although the music used was from 1945, the collaboration between Balanchine and Stravinsky was one of the most successful in dance history, producing several masterpieces. The performance combined the clarity of Balanchine’s choreography with minimalist stage design, creating a balanced and powerful effect. The English National Ballet Philharmonic, under the direction of Maria Seletskaja, delivered a strong and expressive interpretation of the score. Dancer Swanice Luong stood out with her energetic, jazzy movements, while the trio of Luong, Emma Hawes, and Ksenia Ovsyanick brought a competitive yet playful dynamic to the stage. Another standout piece was Bow Out, choreographed by American artist Micaela Taylor, inspired by the Nicholas Brothers’ acrobatic tap performances in the 1943 film Stormy Weather. This energetic number blended classical ballet with jazz, hip-hop, tap, and Lindy hop, creating a lively and eclectic spectacle. Dancers performed in soft shoes and black tailcoats, moving to a soundtrack that combined traditional jazz with new compositions by Tru. The choreography was tightly synchronized with the rhythm, showcasing both technical precision and theatrical flair. Beneath the exuberance, however, there was a sense of melancholy—disillusionment and farewell—hinting at the darker side of show business. The final piece of the triple bill was created by Jae Man Joo, a Korean choreographer based in New York for 30 years. His work, inspired by the William Blake poem Auguries of Innocence, explored themes of human moral failure and environmental destruction. The performance was deeply contemporary, using ritualistic group movements and atmospheric visuals to create an intense, immersive experience. The music, featuring works by Latvian composer Pēteris Vasks and traditional Korean drumming, added emotional depth. The all-black costumes and backdrop gave the piece a gothic, haunting quality, with Sangeun Lee standing out in a tattered black gown as a spectral figure. While the nuances of Joo’s interpretation may have been complex for a first-time viewer, the piece was emotionally compelling and thematically rich. The English National Ballet’s triple bill continues at Sadler’s Wells in London until 3 October, offering audiences a diverse and thought-provoking journey through American dance history and contemporary expression.