This is a revival of the work created for the company (then Festival Ballet) by Rudolf Nureyev in 1977. It shows us, above all, how wrong it is to think of him simply as ballet’s most riveting star — he was a producer, an innovator and a choreographer of huge ability. Pushing 40 when he made this full-length version, he was already becoming interested in the work of contemporary choreographers, and in it we see these influences alongside the company’s classical technique. Most of all, Nureyev was a man who understood drama, and the fights, the crowd scenes, the complex movement of groups of dancers, all serve to create a compelling atmosphere of impending doom.

Nureyev created the role of Romeo for himself, and chose as his Juliet Patricia Ruanne, who had danced with him in his production of The Sleeping Beauty.

In an unparalleled marathon they danced every single performance during the opening four-week run at the Coliseum.

Ruanne was a wonderful Juliet, who went on to work with Nureyev for many years, and, with her husband Frederic Jahn (the original Tybalt), is responsible for this powerful revival.

The very young, technically mature Vadim Muntagirov, sometimes seems perplexed rather than passionate as Romeo. But Daria Klimentova sheds two decades to become the 15-year-old Juliet — a creature of real passion, still girlish, but totally consumed by the unexpected love that has suddenly burst upon her. Slender and graceful, crowned with russet Renaissance curls, she is entirely convincing and very moving. In marked contrast to the Royal Ballet’s MacMillan version, with its lovers entwined in complex embraces, Nureyev leaves them apart most of the time, allowing their individual dances to speak of their feelings. Often it seems they are dancing for, rather than with, their lover. Fabian Reimair is an outstanding Tybalt. Nureyev did not want to create a ‘bad guy’, as he is in so many productions. This Tybalt is noble, justifiably outraged, but also proud of his cousin Juliet and surprisingly tender with her. As Mercutio, Yat-Sen Chang, with his mixture of virtuosity, charm and boyish naughtiness, is a delight.

This is a work that shows the whole company off. The banquet scene for example, with the Capulets in their rich red costumes grouped up wide steps, like a painting by Veronese, is a memorable sight.

Romeo and Juliet runs until Saturday at Milton Keynes. Box office 0844 871 7652 (www.ambassadortickets.com/miltonkeynes).