Romeo and Juliet is never out of the Royal Ballet’s repertoire for long, and it is easy to see why: a heart-breaking but familiar love story; Prokofiev’s glorious score and Sir Kenneth MacMillan’s shimmering choreography. Now over fifty years old, the ballet is widely acknowledged to be a modern classic which has given opportunities for generations of dancers to put their own interpretation on the leading characters.

On the opening night, Juliet was danced by Lauren Cuthbertson. Having danced the character for many years now, Cuthbertson has the full measure of the role: shy and tentative at first, she blossoms into a wilful, passionate young woman who drives the drama along. She manages to convey total despair and anguish in the droop of her shoulders, her feet bourree swiftly away from Paris, her parents’ preferred choice of suitor. Cuthbertson is blessed with beautiful port de bras and a wonderful line and in Matthew Ball she has a fine Romeo. He is a secure partner, but there are no fireworks in their partnership. MacMillan’s pas de deux are always risky – convoluted lifts and daring jumps are his hallmark – but at times it felt a little too safe.

Perhaps it was first night nerves, but the company seemed underpowered in the opening market scene and it was only with the start of the sword fights that things started to warm up. The opening of the ballroom scene with its oh-so-familiar music always draws a gasp of admiration from the audience.

Gary Avis makes a wonderful Tybalt: deadly, menacing and dominating every scene in which he appears. Elizabeth McGorian is a fine Lady Capulet, going spectacularly berserk upon the death of her nephew, throwing herself around the stage in a fit of frenzied grief.

The end of the ballet never fails to move: Prokofiev’s music reaches its devastating climax and MacMillan’s young lovers find no happy ending. Unlike in Shakespeare’s play, there is no final reconciliation between the feuding families and it ends on the saddest note. Take your hankies.