Christopher Wheeldon has brought back his ballet company, Morphoses, to its London home for a short season this week. The enterprise looked stronger and more at ease with itself than on its initial visit, and at Tuesday night's opening the battle was overwhelmingly won by presenting Polyphonia as the curtainraiser. I think it a superlative creation. A sequence of piano studies by György Ligeti, admirably well played by Cameron Grant, sound from the pit. On stage, Wheeldon's dances spring with a ravishing inevitability from the score, incidents and encounters that the cast live through with brightest exactitude, alert to every nuance. We know their world and are fascinated. That Wendy Wheelan and Maria Kowroski (right), musically elegant divinities, are involved lends a special force to the piece, but they might well look over their lovely shoulders at the presence of Beatriz Stix-Brunell, very young, and dancing with a delicious assurance. Wheeldon closes this first of two programmes with a creation. Commedia is set to Stravinsky's Pulcinella music, his time-travelling exploration of Pergolesi, and in rather the same way Wheeldon makes dances that spring out of the music, aware of both past and present.

The piece is brightly designed by Ruben and Isabel Toledo, and seamlessly done in plotless fashion, the choreography full of brisk ideas, threads of emotion and, in a duet for Leanne Benjamin and Edward Watson, an exposition of partnering that seems as skilled and heart-lifting and wittily transcendent as Stravinsky's way with 18th-century music. It is a small treasure and superbly done by Benjamin and Watson.