Kenneth MacMillan’s work of 1965 is one of the Royal Ballet’s enduring successes; it’s almost guaranteed to fill the house, and has been performed more than 400 times. There are many danced versions of Shakespeare’s tragedy around, but this is accepted as one of the greatest – rightly so.

MacMillan re-invented the narrative ballet as psychological drama, and, in this comparatively early work, we see already the complex, intricately involved duets that were even further developed in the grim story of Anastasia, and the wildly romantic Manon.

How different in expression is the long, rhapsodic balcony scene, full of sweeping runs and gentle coming together, from the duet that follows the wedding night. Here the lovers have abandoned all restraint, in a passionate dance in which Romeo handles Juliet’s body with complete freedom, while she melts into him, urging him not to leave.

Tamara Rojo is one of the finest Juliets to be seen anywhere, sailing with effortless grace through MacMillan’s demanding inventions, and developing from the girl-woman of the opening, who still plays with her doll, into the resolute young bride who prefers to join her husband in death, rather than live on without him. Rupert Pennefather stood in for the scheduled Carlos Acosta, Rojo’s usual partner.

Somewhere between Acosta’s flamboyant athleticism and Pennefather’s slightly reserved Englishness there is a Romeo who really brings this role to life. Indeed, looking down the company list, there are several.

Pennefather looks very romantic all the same, but leaves us short on the expression of his passion.

MacMillan always said that his characters were not cast in stone, and it is interesting to see David Pickering’s interpretation of Paris. He makes him a handsome, well mannered and completely eligible suitor for Juliet’s hand. In early productions of the work, dancers like Derek Rencher portrayed him as an ice-cold aristocrat; but making Paris likeable makes Juliet’s rejection even more shocking The production is not without its faults. Near the top of the list are the interminable clickety-click sword fights of the Montagues versus the Capulets, completely lacking in variety or any knowledge of swordsmanship. I have never cared for Tybalt’s stabbing Mercutio in the back, quite out of character, and the histrionics of Lady Capulet (Elizabeth McGorian) over Tybalt’s death, are completely over the top.

This run of Romeo and Juliet is dedicated to Georgina Parkinson,who died last year, a notable Juliet in her day whom I admired greatly. It continues until March 16.

Box office: Tel: 020 7304 4000 (www.roh.org.uk).