When Peter Schaufuss's Elvis Presley ballet ran into copyright difficulties two weeks ago, the Danish choreographer was not only forced to drop 18 of the songs in his original score, he was also forced to drop his hero. In the hastily rejigged version of The King the new protagonist is a British Elvis impersonator called Johnny. Events in Johnny's life run parallel to Presley's - his career disrupted by a spell in the army, and ultimately trashed by drink and drugs - yet, as the hero's triumphs at Las Vegas are relocated to Blackpool, the tale acquires a low rent comedy.

It is hard to criticise the ballet given the speed with which it has been rewritten and the extra energy expended by its dancers. But with the Presley legend at one remove the story loses its tragi-tacky resonance. What's left is a series of disparate dance numbers and a revised set of Presley hits.

The Danish company boasts some very fine performers. An extravagantly supple dancer, Juan Rodriguez as Presley-Johnny has the frisson of the singer's big sexy voice and an undeniable charisma. Also impressive is Quang Van as the hero's friend. A dancer of louche power, he invests the choreography with a subtle blend of thuggery and sex.

But Schaufuss lacks a vernacular instinct. Even though he is right to avoid diluted rock'n'roll, too many of his steps look pale and polite against the drastic rhythms of their music. The dancers aren't given sufficiently individualised moves for us to get intimate with them. It is hard to justify the use of Wagner's Liebestod for the apotheosis of this particular Elvis impersonator. Still, members of an Elvis tribute band who attended felt their hero had been honoured. "From what I saw here tonight," said one, "Elvis would have been proud."

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