Last week's Stravinsky programme was perhaps an impossible act to follow, but this double bill of new pieces featuring choreography by members of the company proved no more than mildly interesting.
So what did we get on Mark Simmonds' all-purpose set (a dreary backcloth and black wings with nothing in the way of set dressings to relieve the gloom)?
Jonathan Payn's Into the Ferment may have meant something to Mr Payn, but it failed to float my boat. The general theme was a set of chance encounters on a derelict site with smashed buildings.
A quartet of dancers circled the stage, got drunk then made an exit, leaving behind a girl looking sorry for herself from a shattered window. I wish Mr Payn well with his piece but I shall certainly not be dashing to renew its acquaintance.
Holst's The Planets is masterly, and English to the core. To match its glorious sonorities and moonlit delicacies with skimpy choreography was simply to offer us a foregone conclusion.
Rosie Kay made the steps for Mars, and rarely have I seen such a dull mismatch between wonderful music and mediocre dance.
People dressed in after-work grey cotton relaxers circled the stage, lifted or dipped to little effect. And so it was for certain other sections, although David Bintley's Venus was reminiscent of Ashton's Monotones and as evocatively neat.
But the best and certainly the most arresting section was Mercury by Samara Downes who found lovely groups for her dancers in white and little diamonds and drew a lithe, perfectly-judged sequence of movements from the richly-gifted Kosuke Yamamoto.
The season ends with a triple bill of Les Petits Riens, Brouillards and Elite Syncopations on Friday and Saturday.