Royal Ballet mixed bill, Covent Garden, Seven magazine review It's always a tonic to see Royal Ballet dancers in contemporary work, but the three plotless, mid-scale, leotard ballets chosen by new director Kevin O'Hare for his first mixed bill make for a peculiarly samey evening. Like a room done over in fashionable neutrals, it made you itch to add a clashing colour - or knock over a glass of claret. Liam Scarlett - newly appointed as the Royal Ballet's first-ever artist in residence - so impressed Edward Villella with his Covent Garden debut, Asphodel Meadows, in 2010 that he invited the fledgling choreographer to make something for Miami City Ballet. The result, Viscera, now has its UK premiere. Set to Lowell Liebermann's first Piano Concerto, the 16-man piece is further proof of Scarlett's ability to fuse the sassy classicism of Balanchine with the quicksilver musicality of Ashton. Laura Morera was an ebullient mistress of revels in the first and third movements, but it is the emotionally charged central duet for Marianela Núñez and Ryoichi Hirano that lingered longest. Viscera's modest staging is in stark contrast to Wayne McGregor's Infra, which is overwhelmed by Julian Opie's installation of dot-matrix pedestrians, who furnish an unending frieze above the six dancing couples. McGregor's kicks and wriggles are becoming a cliché, but the packed house cheered the bendy bravura of dancers like Edward Watson, Melissa Hamilton and the soloist Eric Underwood, who eyeballs the "fourth wall" with catwalk confidence. Christopher Wheeldon's Fool's Paradise (2007) provides an ever-welcome chance to admire Steven McRae unleashing a tornado of turns and giving a masterclass in arabesque, as well as another great vehicle for Watson and Hamilton - a potentially explosive partnership.