Tonight:
9°c
Some fares could fall by more than a third when Oyster is extended to every national rail station in London, it has emerged
More...
New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Sarah Frater's rating
Reader rating
Dir: Monica Mason.
Cast: The Royal Ballet
Description: Full-length romantic work about love between mortals and nymphs, choreographed by Frederick Ashton and performed to music by Leo Delibes.
Trains: Tube: Covent Garden 
Phone: 0207304 4000
Website: www.roh.org.uk
Email: onlinebooking@roh.org.uk
Extra info: Food, Air Conditioning
Imperious performance: Zenaida Yanowsky as Sylvia, with Gary Avis, in Frederick Ashton's romantic 1952 ballet
You have to laugh at how ballet takes the old Graeco-Roman myths, often hideously violent ones, and re-tells them in the prettiest of ways. Take Diana and Actaeon. The short ballet is a showpiece of romantic fireworks, whereas the myth sees Diana turn Actaeon into a stag and have his own dogs tear him limb from limb.
Sylvia's myth isn't in the same league violence wise but Frederick Ashton's 1952 ballet, reconstructed by Christopher Newton for Ashton's centenary in 2004, still focuses on its decorative rather than its darker potential.
The result is a sunlit upland of a ballet, with gorgeous sets, foxy costumes and pleasingly frolicsome nyads, dryads, sylvans, fauns and peasants.
They pick flowers and make garlands, drink from streams, tend flocks, and generally look lovely. I don't know why dancers look so good in Graeco-Roman drapery but Sylvia's nymphs were a knockout in their gathered dresses and plumed helmets.
The ballet has, for my tuppence, a mildly Carry On tone and is without a shred of psychological depth, added to which the music is tum-te-tum Delibes, and there's a big sag in the middle (the second act really is a flop).
Aspects of the production also look clunkily "reconstructed", and other bits of it rather make you titter (eg arrows that "appear" on their victims who can be seen visibly stabbing themselves with ones they've got from behind the set).
I have to add that many of the dancers don't seem to know much about Frederick Ashton or how to dance his style.
Having said all that, you could watch Sylvia all day and all night with Zenaida Yanowsky in the title role. The tall dancer is gorgeously imperious, proud of her chastity only to succumb to the charms of Aminta. And who wouldn't with David Makhateli in the role. Another tall dancer, he has a pleasing softness to his dancing which is spot on for the lovesick shepherd.
Also good was Deirdre Chapman who put in a fly-by appearance as Diana. Her leopard skin-trimmed costume was very this season.
Details are correct at the time of publication - please check with venue before booking.
Sarah Lamb was wonderful, as was Fredrico Bonelli and Bennet Garside. The Corps, at times (especially early) could have been better in the first act, but after that it was all wonderful! A big thank you to all those who took part, a fabulous performance!
- Jaimie Taylor, London
