Sylvia (Birmingham Royal Ballet)

Sylvia has possibly the loveliest of all ballet scores, yet such a problematic storyline that it's very hard to know quite how seriously to take it. The Royal Ballet production by Ashton is enchanting on many levels but takes itself far too seriously. David Bintley's newly revised production goes quite the other way, producing a similarly delightful but altogether wittier, tongue firmly in cheek creation.

The new framing devise doesn't really solve any of the narrative problems and is in many ways an entirely pointless addition. Firstly it's almost impossible to follow, with or without the synopsis. The audience winking Eros/Gardener is cleverly done but all the claptrap about the Count's infidelities endangering the romance between his two servants never really materialises. No explanation is ever really given for why Amynta is the only one who never changes costume wandering around the fantasy land in the remnants of his Black Tie. Quite who is receiving the "lesson" from Eros wasn't obvious. Luckily whilst it remains a narrative mess, it's an awful lot of fun. The choreography is constantly engaging, moves quickly and generally hits all the right notes. The peg-leg pirate is an absolute hoot. The weakest element is the traditional pas de deux in the third act which whilst efficient enough misses both the humour of the rest of the work and the emotion that it strives for. Whilst never less than attractive it wasn't terribly interesting, the pizzicato solo in particular a bit of a damp squib.

The dancing was of the Birmingham Royal Ballet's usual high calibre. The corps were as tight as you could expect of any company, it's clear that all involved enjoy dancing this work. Matthew Lawrence rules Act II like a slightly unhinged Tarzan, his impeccable comic timing paired with some strong turns made this an accomplished performance. Cesar Morales might not be the most convincing blind man but he lends the rather wet Amynta at least an air of masculinity. Natasha Oughtred was terrific as Sylvia, the role didn't have many starry moments but she was consistently charming and paired nicely with Morales. The smaller roles were all well filled, Carol-Anne Millar and Momoke Hirata, the pick of the Nymphs and Christopher Larsen seemed to be having a jolly old time as Eros and the peg-leg pirate.

This isn't a show that amounts to very much but it's effortlessly good fun. The kind of production that could raise any melancholy just with its sheer joie de vie. I couldn't help but smile. The Royal Ballet Sinfonia under Paul Murphy gave a terrific account of the gorgeous music. Bintley's framing device adds as much confusion as clarity but in the end it hardly matters. It's a pity the Birmingham Royal Ballet's stay hasn't been longer. A marvellous triple bill followed by a delightful "Sylvia".