By Victoria Roddam

Determined to convince my sceptical companion that there is more to ballet than tutus and Sugar Plum fairies, I towed him reluctantly into the New Theatre, where the English National Ballet's Triple Bill proceeded to convince us both that ballet is one of the most vibrant and versatile art forms around.

Consisting of Mark Morris's whimsical and upbeat 'Drink to Me Only with Thine Eyes', Christopher Hampson's virtuoso and inventive 'Trapèze' and Michael Corder's nostalgically jolly 'Melody on the Move', this is a real smorgasbord of dance which will entertain all ages.

Jan-Erik Wikström in particular conveyed the contrast between calmness and sheer wanton physicality which characterizes Virgil Thomson's piano etudes, in 'Drink to Me Only', a romantic yet sensuous set piece which showcases the sheer fluid potential of dance.

Hampson's 'Trapèze' meanwhile, while somewhat gimmicky, makes the very most of the giant trapeze centre-stage, in a faux-circus setting which conveys both the tawdriness and the spectacle of the big top, as well as the acrobatic skill and sheer supple flexibility of Clara Barbera and Gary Avis.

Finally, 'Melody on the Move' is a show-stopping tribute to the Golden Era, overflowing with joie-de-vivre, and set against the backdrop of a giant wireless. It's guaranteed to get the feet tapping.

Simone Clarke and Juanjo Arquès bring a delightfully elegant touch to the proceedings with their masterful pas-de-deux, while the rest of the company clearly delight in this colourfully costumed romp through everything from the heyday of Montmartre to Fred Astaire and the follies of the office girls in the typing pool.

A diverse yet meaty evening's fare, take your ballet-resistant friend to the next available production - they may be pleasantly surprised!