Instead, eschewing any kind of enchantment, Dawson leaves his light, gorgeous choreography to breathe freely. There are no tutus here, but Yumiko Takeshima’s lovely costumes instead feel evocative of bohemian art students, mostly in a muted palette of soft earthy greens, burnished oranges and browns. Initially, the royal court is instead transformed into a ’fifties dancehall style, with gestural movements and solos from the company, all trying to impress the highly discerning Siegfried. Even the backdrop, designed by John Otto, is reminiscent of a modern art gallery, with its sharp light grey jagged shapes.

Siegfried, although divested of royal pomp and grandeur, still swaggers with toxic entitlement. Bruno Micchiardi is as lithe and spirited as ever in the role, but even his wonderful mirroring work with best friend Benno (Thomas Edwards) who physically resembles him, cannot make his character more appealing. He’s like a spoilt teenage brat: you could picture retreating into his bedroom to listen to emo and scribble furious poetry. Angst accompanies his every sullen stomp and twirl, when not high- fiving his bro.

His outsider status is reinforced by falling in love with Martin's swan lady Odette, an ethereal vision in a white leotard, pirouetting flawlessly and demonstrating feathery glissades. Hers is an otherworldly presence. She is as delicate as lace, but with an enigmatic undercurrent. By entrusting Siegfried with her rare gem, she becomes more human, more vulnerable.