Admirable though the results may be, this isn't a far, far better thing than they have ever done. Even though the ramifications of plot have been simplified, the story is still so vast and involved that the whole piece becomes a never-ending series of comings, goings, twists, turns and flashbacks, that proceed, for the most part, in fragmented bursts. Keeping up with the intricacies of the storyline is quite taxing even for those who are familiar with the tale. Unfortunately, this can distract somewhat from a relaxed enjoyment of the performance. It also means that opportunities for dancers to maintain continuous flows of movement that fully engage the audience are few and far between.

There still are such moments, though, especially (as ever) when Keiko Amemori is dancing (tonight as Lucie Manette) whether solo, or alongside Kenneth Tindall (tonight's noble Sidney) or Tobias Bentley (her Darnay.) Her costume, a loose, flowing, light garment is a delight as it allows us to appreciate both her en pointe legwork and the delicacy of flow and expression throughout her body. Authentic eighteenth century costume is certainly handsome, and great for the drama but, because dance is so dependent on the audience seeing the dancer's entire bodyline, it does have definite drawbacks. The men, though in knee-breeches, allowing some leg to be seen, also wear long coats, which naturally inhibits a fuller communication of beauty and expression, which is a shame.

There was much to enjoy all the same. All sections of the orchestra come to the fore at different times, most notably with beautiful harp work, and great concords and discords of brass. Matching the choreography, especially that of the barefoot French Revolutionary knitters Les Vengeances, and offering contrast to the softer, more traditional style of Lucie, the music, too, takes a spikier, slicier, sharper edge.

Though Paris and London don't look very dissimilar, the set works well, with good use made of its bridge, while the final scene as Sidney climbs to the guillotine in a dazzle of light is wonderfully effective. Steven Wheeler provides a particularly striking Evremont, from his powdered wig and lipstick to his very long, very aristocratic, purple-clad legs, especially in his fine dance with the mirror.

Though Hiro Takahashi in his role of the elderly Dr Manette can't let rip with his usual flamboyant talent, things are seldom static. Just the opposite. In fact, one can't help wondering if the whole thing might benefit from further simplification. It's good to watch, nevertheless.

Eileen Gray