What a hodgepodge is the Royal Ballet’s “Perspectives: Balanchine, Marston, Peck.” Justin Peck and Balanchine do have New York City Ballet in common, with its dancers’ signature speed and capaciousness, but there the comparison ends. In Balanchine’s unsurpassable Serenade, to Tchaikovsky, the large female corps don’t count as people so much as sea foam, stallions, haunted sylphs—that is, dancers flexing their shapeshifting powers. In Peck’s early, inventive, and ultimately bittersweet Everywhere We Go, to his pal Sufjan Stevens’ adorably ramshackle score for orchestra, the dancers are not just relatable, they relate—they’re friends. The program’s third offering is more incongruous still. The Brit Cathy Marston, now artistic director of the fine Ballett Zurich, has made a career of updating ballet storytelling—which Balanchine mainly abandoned and Peck mainly avoids. This is all to say: Let’s hope the program is at least equal to the sum of its parts. On the other hand, all the parts are worthy, with Serenade alone worth the price of admission, especially when the Royal Ballet’s precise, fleet, unpretentious Natalia Osipova, Lauren Cuthbertson, or Marianela Nuñes might be fielding roles. —Apollinaire Scherr