Swan Lake, London Coliseum, review: English National Ballet’s traditional production is danced with lively confidence

English National Ballet welcomes the new year with Swan Lake, danced with lively confidence. This is a traditional, appealingly straightforward production, from Peter Farmer’s fairy-tale gothic designs to the brisk storytelling. It makes a fine post-Christmas treat.

Under director Tamara Rojo, English National Ballet has become much more adventurous, with programming including a recent new work by William Forsythe and an upcoming evening of work by female choreographers. But it’s also keeping one pointe shoe firmly in the classics that have been the company’s bedrock throughout its history.

Created in 1997, Derek Deane’s staging of Swan Lake was made for conventional proscenium arch theatres – unlike his gargantuan in-the-round version, designed for the Royal Albert Hall. Here, the focus is much more on the central couple and their doomed romance.

There’s a porcelain quality to Jurgita Dronina’s Swan Queen, with clean technique and touching acting. As Odette, the enchanted heroine, she needs more texture to match the lyrical sweep of Tchaikovsky’s score, but she’s always clear and thoughtful. As Odile, Odette’s wicked double, she brings a glittering attack to the virtuoso steps, while keeping a sense of her Odette’s smooth clarity. There’s a mocking edge to her imitation, but the prince isn’t a fool for believing in her.

Isaac Hernandez, her prince, has a glowing stage presence. His bravura dancing seems to spring from his warm personality: he’s a natural performer, drawing the audience into the story. He’ll take risks with the dancing, adding a gleeful flourish to his solos, but partners Dronina with tender care. His mime is particularly vivid. When he swears to love Odette, he’s both declaring his feelings and consciously trying to break the spell that traps her.

Rojo has been criticised for her promotion of Hernandez, with whom she is in a relationship, but he more than justifies her confidence here. Some other casting choices are disappointing. I’m sorry that rising star Precious Adams, radiant in supporting roles and on the company’s Swan Lake advertising, isn’t getting a crack at Odette-Odile this season.

In the pas de trois, Julia Conway shows buoyant style, but Alison McWhinney needs more authority. Crystal Costa and Barry Drummond give a joyful performance of the Neapolitan dance, ribbons and tambourines flying. ENB’s cygnets dance with military precision. The corps de ballet of swans are neat and crisp, but they’re at their best when they soften. The slow ripple of their arms helps to create the ballet’s hushed sense of magic.

Until 13 January, londoncoliseum.org