When Sylvia was rescued from the archives last season, Ashton's lost 1952 ballet came out looking far more zesty and romantic than anyone had predicted. One season later, it still hasn't lost its charm. However slight or silly its plot, there is beauty enough in its choreography and decor as well as in the hot exotic sparkles of Delibes's score for this work to be a keeper.
The title role, originally created for Margot Fonteyn, also happens to be a cracking ballerina showcase, and as Darcey Bussell opens this season's revival, she confirms herself to be its rightful heir. Last year, her performance was fussed by nerves, yet now that she's relaxed into it, she looks sparky and at times magnificent. Bussell may never find in Sylvia the dramatic nuance mined by Zenaida Yanowsky (who for many is becoming her natural rival) but the creamy largesse of her style plus her unruffled ability to push her body to audacious extremes flesh the role out to glorious effect.
Sylvia's love interest, the lovelorn shepherd Aminta, is far less charismatic, but if anyone can extract glamour from unblemished virtue it is Roberto Bolle. It is hard not to sound sappy when writing about Bolle, given the beguiling handsomeness of his looks and the fact that his technique seems to have arrived fully formed, as if by immaculate conception. True he doesn't stamp his roles with a particularly arresting drama. But he is as ardent and hopeful as Aminta should be and, however daft the supernatural twists and turns of his love affair with Sylvia, you really want him to get his girl.
Thiago Soares is a glittering villain, all smirk, muscle and insane concupiscence. Just as importantly, the assembled ranks of woodland creatures, nymphs and peasants give themselves over with gusto to the ballet's pretty nonsense as well as to its serious technical challenges.
· In rep until December 21. Box office: 020-7304 4000.
