Swan Lake @ Theatre Royal, Glasgow, 19 April

No doubt puritanical fans of Tchaikovky’s legendary ballet will have some criticism of Scottish Ballet’s newest production – within the corps de ballet, there are none of the white fluffy tutus or strictly-synchronised-to-a-split-second dances that are so synonymous with this work. But then again, when have Scottish Ballet ever taken the traditional path? Once freed from the expectation of the iconic images of swan feathers, this somewhat stripped-back and deconstructed version of Swan Lake retains the heart-stopping beauty of more traditional productions.

From the set to the costumes, everything is pared back, and from this simplification the fragile beauty at the core of this famous ballet rises wonderfully. There is little to distract from the expressive lines of the dancers’ bodies, communicating the tragedy of the piece thanks to David Dawson's powerful choreography, which continually steps away from the music-box-style image of ballet. The swans are not metronomically in time with each other as usually expected – yet this turns out not to be a reason for criticism. The freer, looser choreography gives up more space for artistic expression, and therefore the beauty of the swans is seen as more angular and wild than in more rigid and traditional productions. It all feels very raw, the focus on the dancers themselves.

Naturally, much of that focus falls on Sophie Martin in the lead. She's a truly mesmerising dancer – both technically and artistically – and her portrayal of Odette/Odile spectacularly lights up the whole production, making it seem somewhat like a one-woman show. Unique and captivating, this spectacle is not to be missed.