Kenneth MacMillan: A National Celebration is a sunny sensation

A rapturous start to the Kenneth Macmillan season with three companies celebrating the choreographer’s infinite variety and jewel-thief imagination over his 50-year career at Covent Garden. It is the 25th anniversary of his death in 1992, excuse for this glorious raid on the archive.

First, the radiant smiles and precise, perky steps of Concerto (Birmingham Royal Ballet). Momoko Hirata and Tzu-Chao Chou are as neat and timely as figures on a cuckoo clock; Jenna Roberts is spirited, light-hearted, sunny. In this happy abstract ballet of Starburst sweet colours we see unspooling spins, trotting pointe work, and high, high jetés. Bravo Brum.

Le Baiser de la fée (Scottish Ballet) is the most traditional of the three. Macmillan gives us fairy queens, sexpot gypsies, blushing maids in Gretchen costumes. You need high tolerance for tutus and tiaras.

Constance Devernay is a cool, cruel fairy, whispering and wilful; Andrew Peasgood the country Boy she kisses. He and the village lads dance at the fete like jumping jacks and Jeremy Fishers. When Boy kisses Fairy she quivers in ecstasy. Bewitchingly pretty.

A dozen quick-step, rag-time numbers make up Elite Syncopations (Royal Ballet) in dances of infectious delight. The company wear clowning costumes: Liquorice-Allsort leotards, ladies-at-Ascot hats. It is irrepressible, rascal fun. Precious Adams is gorgeous and slinky, wiggling hypnotically below a calypso bonnet. Amazonian Marge Hendrick — towering — and her swain Constant Vigier — tiny — send themselves up beautifully. Smiles from stalls to gods. A glittering tribute to the marvellous MacMillan.

Tonight (020 7304 4000, roh.org.uk)