RB 'La Sylphide' reviews 'La Sylphide' reviews Englund in reviews Cojocaru in reviews Pennefather in reviews RB 'The Lesson' reviews Kobborg in reviews RB 'Les Rendezvous' reviews recent RB reviews more Bruce Marriott reviews Discuss this review (Open for at least 6 months)

Like Giselle, La Sylphide features a corps of ghostly women, a jilted girl and a real baddy in Madge, the witch-like character, though in this case she's the baddy who appears to triumph. James is the son who loses all for the love of the unobtainable Sylph and Effie the long-suffering fianceé (who conveniently marries another in the end). The plot is told in all it's 19th century style, the production being very close to what Bournonville created for the Royal Danish Ballet in 1836. Giselle's might be enhanced and changed willy-nilly the world over but here we have something reverently handed down and much closer to what was originally created - a rarity indeed. Better still, it comes with the joyful Bournonville style. Yes, yes we cry.

As a dance entertainment La Sylphide has the same feel as Ninette de Valois' Coppelia - that is a piece created at a different time and not blurred by current theatrical values. So some of the mannerisms/mime can look 'wrong' and the punctuation from Lovenskiold's score seems a bit strange and wayward at times too - musical and dance endings just aren't as you might anticipate. It all jolts you into a different and more timeless way of seeing. Included in the handsome designs are some simple 19th century mechanical stage surprises - gentle fun rather than whizz-bang in style.

So all is authentic period charm by the bucket-load and reinforced by the Danish style that demands lightness and fleetness of foot. The question was would RB dancers be able to get their heads and bodies around the Bournonville style and breathe appropriate life into it?

The first night featured Alina Cojocaru as the Sylph and Ivan Putrov as James. Cojocaru seems the ideal Sylph: bodily and temperamentally she looks the unobtainable, wafting, spirit. And the steps looked good and Putrov also, although he presented James as a rather withdrawn, introverted character amidst the turmoil created by the Sylph. The rising Rupert Pennefather (tall, bursting with promise) is a more natural and engaging partner, although still growing into his legs a little! He looks strong though and the acceleration his career has recently been showing is well judged. His Sylph was Tamara Rojo, more womanly and wantonly innocent if just as unobtainable until the fatal trick is pulled on her.

Madge is key to the production and Sorella Englund, who helped set the piece, was guesting from Demark. Tall, gaunt and tough she's a natural centre of attention and got thunderous applause on the opening night. Elizabeth McGorian was the second Madge and a fiery job she made of it too - the role's quirky nature will take a while to fully assume. It's satisfying to note that the corps and the minor roles all looked beautifully rehearsed and settled, rather than us seeing a dress reheasal as has sometimes been our lot at the Garden.

Johan Kobborg, the RB Principal who left Royal Danish Ballet for London 6 years ago is responsible for making Sylphide happen and has to be hugely congratulated - and it can't be long before there are more excursions I'm sure - a point well made by the inclusion of The Lesson on opening night. This piece wowed London 2 years ago at Kobborg's "Out of Denmark" show, and was looking just as powerful and darkly comic as ever. Kobborg and Yanowsky reprised their roles as, respectively, psychotic dance teacher who kills his pupils and pianist who helps clear up the resulting mess - it happens so often there's a set routine. Roberta Marguez was making her debut as the pupil strangled at the bar - convincing enough, but she can take it further yet. A good acquisition and a powerful piece that I hope will challenge other RB dancers over the years.

For those of a nervous disposition, some performances of La Sylphide are teamed up with Ashton's Les Rendezvous rather then The Lesson. To jaunty Auber, Ashton's promenades and variations are bright, breezy and full of easy invention. Marianela Nunez (good) and Valerie Hristov (not so) were the leads but it was Lauren Cuthbertson who seemed most at ease with all her steps and really enjoying herself. The costumes by Anthony Ward amplify the sunny nature of the piece, though the stylised park background is criminally horrid and ought to be put out of its misery soonest. But either bill is striking watching. Oh that all starts to seasons were as striking and inventive.