Ashley Page, artistic director of the Scottish National Ballet, opens his Autumn season via the public address system. He's asking for assistance in raising £400,000 to help re-locate the ballet to its new home at Glasgow's Tramway. In return, he promises change, development and innovation.

As the show opens, Page seems true to his word. Stephen Petronio has choreographed twenty-six minutes of the impossible. Radiohead, having claimed their music could never be danced to, are thoroughly contradicted by this intermittently breathtaking work. The opening track features a computerised voice that barely holds a rhythm and yet Petronio masters it, creating a dance which is at once elastic and bionic. One is reminded of how the inside of a computer might look; simultaneously magical and mechanical. Much of Petronio's work benefits from jaw-dropping energy and exacting precision, all underpinned by beautiful design.

When the crowd-pleaser, 'Creep' begins to play, however, the fight between popular appeal and artistic integrity begins. Unsurprisingly, given the familiarity of the track, 'Creep' is immediately involving. But teenage nostalgia aside, the music appears to be badly stitched to the movement. Similarly, in the 30s-style 'Pennies from Heaven', one begins to smile at gyrating cowboys and spinning umbrellas, but once the feel-good goes, the cowboys seem poorly synchronised and the umbrella shenanigans become scrappy.

Trisha Brown's 'For MG: The Movie', however, cannot be criticised for commercialism. Featuring no narrative and little movement, save a girl running on the spot, here is where the kids lured in by Radiohead are immediately alienated. Page goes as far as to apologise for it, warning us to 'hang in there'.

Page had aimed to deliver a show to represent where the Scottish Ballet is going, and why it is time for expansion – and therefore donations. This pressure has resulted in a programme which couples crowd-pulling commercialism with innovative yet impenetrable abstraction. In trying to keep everyone happy, the Scottish Ballet leaves few totally satisfied. There are elements you love and others you will hate; but there's plenty to talk about, which is surely one of the best reasons to go and see a show.