Romeo did Juliet

in 2008, Krzysztof Pastor's version of Romeo and Juliet marked the end of the Scottish Ballet's revival under Ashley Page. Tackling one of the major classical ballets in a style that compromised between lyrical romanticism and a hard, contemporary expressiveness, it announced that the company were confident enough to rebuild a repertoire great in their own image.

This revival contains the same strengths and weaknesses as the original tour. The use of earthquake video footage to emphasise the drama is still repulsive, the pas des deux remain sensual and moving. The Knights, recreated as Italian patriarchs with a hint of the gangster or fascist, are thrillingly dominant; the tragic fight scene has a perfect mix of ballet and brutality. Pastor's power perfects the potent fusion of originality and tradition, with the lovers enraptured in bliss while the politics around them – which move through Italy's twentieth century – erupt and explode.

Paul Liburd is a vibrant, charming Mercutio, and Sophie Martin makes the most of Pastor's fluid choreography. Her entrances emphasis the synthesis of design, music and corps des ballet that lifts this far beyond a mere journeyman remake. Eric Cavallari does not convince as Romeo, sadly. He is technically solid, but lacks the romantic passion that drives the character. It is hard to believe in him killing Tama Barry's thuggish Tybalt, let alone going against his entire culture to pursue Juliet.

This Romeo and Juliet certainly consolidates Scottish Ballet as a modern ballet company, displaying a greater strength and confidence than in 2008 and bringing out the nuances of Pastor's vision. With a series of striking set-pieces and a style that balances past and present, Romeo and Juliet doesn't necessarily break boundaries, although it does lead ballet towards a more contemporary pasture.