Dance styles flow seamlessly from classical ballet to Spanish-inspired folk, and from fandango to matador-style movements. Often, it is high-energy and technically demanding, the footwork fast and complex. At other times, it is languid with romantic overtones. Sometimes it is flirtatious and playful.

The production gives many opportunities for principals and artists to shine, with Act II just one of the highlights. As the sun sets behind windmills on the skyline, the performances of Geneviève Penn Nabity as Kitri and Mathias Dingman as Basilio are intense and tender. The entry of the gypsies changes the mood, their dance brimming with a fiery energy. Eilis

Small and Ryan Felix as the gypsy couple are particularly impressive. Penn Nabity and Dingman’s pas de deux in Act III is sensuous and elegant in equal measure.

It is also a great piece for dancers of other ranks within the Company, and much of the joy in the ballet stems from their delivery. Versatile and technically adept, they incorporate vivacity and expression into their dance. The men excel as matadors and townspeople, whilst the women are stunning as dryads.

Carlos Acosta’s production gives scope for those just starting out on their careers, as part of a commitment to developing skills and opportunities. Their integration with more experienced dancers is handled well, and it is lovely to see them on stage.

The ballet’s humour lies in its character artists. Jonathan Payn plays Don Quixote and Olivia Chang-Clarke plays Sancho Panza. Fun is made of Don Quixote’s inner world, where honour and gallantry hold sway, leading him to pursue idealised and nonsensical feats of valour. His dancing is stiff and formal, and the sight of his steed, made from a wine barrel, topped with a horse’s head and tailed with a mop-head, brings out the ridicule. So too does Panza’s seemingly endless appetite for food. August Generalli as Gamache is suitably foppish in his yellow breeches and oversized periwig, whilst Rory Mackay’s Lorenzo is a butcher who values money above all else.

Acosta’s production is strong on setting and atmosphere. Lighting gives warmth and a touch of sunshine. Back projections of windmills with claw-like hands are full of menace, as are the dark clouds rolling across the sky above. Act II’s campfire scene is enhanced by use of acoustic guitars on stage, and the sense of a Spanish town square is created through hand-clapping, fans and, from the orchestra, the sound of maracas. Costuming, rich in detail and colour, adds further texture to the piece.

The character roles could, perhaps, have greater exposure. Their appearances on stage and their interactions with other dancers are somewhat limited, and the role of Sancho Panza as the butt of many jokes seems a little under-developed.

But this is a minor point in what is otherwise a lush and dazzling production.

Choreography was by Carlos Acosta after Marius Petipa, and production was by Carlos Acosta. Set and costume design was by Tim Hatley, lighting by Peter Mumford and video design by Nina Dunn. It was staged by Christopher Saunders. Music was performed by the Royal Ballet Sinfonia and conducted by Paul Murphy.

Dancers named above were those who performed on press night.

Don Quixote is at the Birmingham Hippodrome until 21st February. For further information visit birminghamhippodrome.com.