La Bayadère is one of those ballets that you start out doubting and end up loving. It’s a three-act, big-scale love triangle, with a humble temple dancer (the Bayadère) swearing herself to a noble warrior (Solor), only he betrays her to a high-born (Gamzatti). The high kills the low and the warrior is haunted by despair.

The Royal Ballet’s La Bayadère is gorgeous to look at but there is so much going on in so many different styles that the three acts can feel disjointed. This isn’t helped by the absence of really good tunes nor by the last-minute cast changes, which were so numerous you half expected the dancers to change during the performance as well as before it.

Carlos Acosta, in particular, spent the first act looking surprised to be on stage and it took him until Act II to find his character. With his motor running, Acosta is, as you know, a considerable star, and his portrayal of the warrior was by Act II something worth watching. Tamara Rojo also took a while to warm up but by Act II, she dazzled, with nimble jumps and spins eye-blurringly fast.

Alexandra Ansanelli was a lovely-looking Gamzatti but her dancing understandably paled next to Acosta and Rojo.

Those who doubt Act I of La Bayadère are soon won over by the “Shades” scene in Act II. The 24 ghostly Bayadères move as one in a multiple reproach to Solor’s betrayal, both an allegory of guilt and a reminder that far from inspiring good, beauty prompts less noble emotions.

The High Brahmin (Gary Avis) is so enamoured with the Bayadère that his jealously leads to betrayal. Instead of her inspiring loyalty, the Bayadère’s beauty is quickly forgotten for another pretty face. Who said ballet was happy‑ever-after?

In rep until 7 February (020 7304 4000), www.roh.org.uk.