Modern dance treatments of classical ballet are common nowadays but the half-realistic, half-idealised scenes in Ballet Cymru's lyrical realisation of Prokofiev's Romeo and Juliet enhance the efforts of a company incontestably at the top of its game.

Not even the clog-dance transformation of a scene powered by the most familiar part of the score counts as an innovation too far, though the idea of introducing a Welsh element to re-boot an episode fully capable of making its point musically might seem like it.

However, the premiere of this production by the Newport-based group was a Welsh-enough triumph in itself, without the footwear and the translation of the title to Romeo a Juliet. The result on the night was greater than the sum of its collective local input.

Georg Meyer-Wiel's costumes are a mixture of patrician and balletic and his set, particularly in the scenes of confrontation and violence played out in a deserted warehouse, disturbingly spare.

With suggestive lighting and imagery (Chris Illingworth and Michael Iwanowski) and little else, the choreography by company artistic director Darius James, Amy Doughty and the cast more than ever evokes a troubled dream state. The production reinforces this shunting together of jagged-edged confrontations and extended moments of innocence, tenderness and love, the balcony scene's flowing pas de deux being one of many high points.

The dancing is arabesque, earthbound and full of youthful energy, the pointe-work never overdone and the flexibility of movement improvisatory. The Juliet of Emily Pimm Edwards and Daniel Morrison's Romeo make a divine pair ably supported by the rest of the cast in ensemble-playing of quality.

This is a home-grown venture, co-produced by facilitator Coreo Cymru, the orchestra Sinfonia Cymru and the Riverfront itself. The orchestra plays superbly and its recording of the music will be used when the production is on tour.

The result is Welsh arts enterprise of UK-national importance.