The Bermuda Civic Ballet, celebrating its silver anniversary this year, is putting the final touches to what should be one of its most ambitious productions yet.

"Sylvia'', a famous classic of the ballet repertoire, and set in a mythological forest, is a particularly happy choice in that the company will once again be performing "under the stars'' in the grounds of Government House.

Set to the well known music by Delibes (who wrote "Coppelia''), the ballet centres around the amatory adventures of the nymph Sylvia and attendant goddesses, hunters, shepherds and a sprinling of ordinary mortals.

The best known version of "Sylvia'' remains that of Frederick Ashton for the Royal Ballet, though it is rarely performed today.

For Canadian Laurence Haider, who won a scholarship to the Royal Ballet School, "Sylvia'' was one of the first ballets he saw.

"Of course, I never dreamed I would be staging it myself one day,'' admits the choreographer and director who went on to a glittering career as principal dancer with many of the major companies of the world, including the National Ballet of Canada, the Royal Winnipeg, Edinburgh Festival Ballet, Roland Petit Ballet, Les Grands Ballets Canadiens. Many Bermuda audiences will remember that `star' quality when he first appeared here as a principal with the Miskovitch Ballet from Paris.

"I consider this production one of the most exciting things I've ever done,'' says Haider. "I think the biggest surprise is that we are such a happy company -- there's been plenty of laughter, which was quite unexpected.

"There is some wonderful talent here. And it makes such a difference having David (Drummond) to help me. He is so knowledgeable and I don't think I could have managed it without him -- it's a very long ballet! This group of principal dancers are highly professional and have very exciting potential. I am very grateful that Coral Waddell (artistic director) invited me to do this.'' David Drummond, formerly of the Boston Ballet, who has worked as choreographer and teacher for Civic Ballet over the years, is assistant director.

"I think the production is going rather well. I like Laurence's vision for the whole thing and the way he has used all levels of dancers' achievements.

And it's going to look stupendous outside. We have a wonderful cast of principals and a very strong corps de ballet of townspeople this year.

"`As a choreographer myself,'' he adds, "it is interesting to see someone else's approach. He is so creative, it's quite an experience working with him.'' Appropriately for an anniversary year, the production has brought about many reunions: Laurence Haider appeared as principal guest artist (from the National Ballet of Canada) in the very first programme staged by Civic Ballet.

This was Oscar Harmos's `Devil in the Village' and Haider partnered Civic Ballet founder Patricia Gray, while Alison Masters Smith, who went on to have a professional dancing career, performed a solo.

"When I heard that Laurence was doing the production, that really made me finally decide to come home and take part,'' says Mrs. Smith.

Anniversary ballet a reunion as well , who has been tempted out of retirement to take on the pivotal role of the goddess Diana. "After all, we go back a long way -- he was my partner in several productions after that -- so it's very exciting to be reunited after all these years.

"I had no intention of dancing any more, but the idea of appearing in the silver anniversary production did appeal to me -- an appropriate way of finishing my career, in Bermuda where it all began with Civic Ballet.'' After training with Patricia Gray and Ana Roje, Mrs. Smith studied at New York's School of American Ballet and danced professionally with several companies, including solo roles with Ballet Austin and Austin Contemporary Ballet in Texas.

"I've had a career of compromises,'' she reflects, "but that was really my choice because I also wanted to have an education and a family. I had both, and have led a very full life.'' For Alexandra Duzevic, who dances Sylvia, the role is especially rewarding as "this is a completely different ballet for me. I always seem to be given the ethereal, `sylph'-like roles but I think this is more me! It's a dramatic role and gives me a chance to act.'' As for working with Mr. Haider, the talented young dancer who studied in Russia and until recently, was dancing with former Bolshoi dancers in Ballet Iowa, says: "He's been an inspiration to me. I've never a choreographer who is so easy to get along with. He is so patient and yet always upbeat so it encourages all of us to achieve things we never thought possible.'' It was Ms Duzevic who "discovered'' principal guest artist, French-born and trained Rodolphe Cassand, who has already had an impressive career. Seeing him take class in the US, she thought he would be "perfect'' for the Bermuda production.

Sporting a T-shirt which announces that `Swan Lake is not a park', Mr. Cassand said: "I really like working with Laurence because he is so passionate about ballet, but keeps his sense of humour. I could see his talent right away -- I knew some dancers who were in the same companies as him and I think that generation of artists have been such leaders for us.

"Laurence is bringing me so much from his artistic point of view and I think that's what I am enjoying most -- his artistic input is really amazing.'' Mr. Cassand landed his first job at 17, with the famous Roland Petit Company.

During his eight years there, Petit created many solo roles for him: "One of my trademarks was the black swan from `Ma Pavlova' and I also used to partner the great Zizi Jeanmaire.'' After performing with Star Dancers Ballet in Tokyo, he joined Dance Theatre of Harlem, becoming a soloist almost immediately. For three years he was a soloist with the San Francisco Ballet -- "more classics!'' -- before joining the neo-classic Lines Contemporary Ballet, also in San Francisco.

"I am enjoying the chance to do this ballet, partly because it tells a story and that makes a change from ballets that are just technical displays -- I don't like the circus! It means so much more when dancers can express something rather than just being a dancing machine. Laurence understands that.'' The connections and reunions surrounding this production continue, since Rodolphe Cassand met both of the other principals -- Sophia Cannonier and Jeffrey Watson -- through his stint at the Dance Theatre of Harlem.

"I danced with both Rodolphe and Jeffrey,'' says Ms Cannonier, who was with Dance Theatre for nine years.

"It's wonderful for us to be together again and I am very happy to be dancing once more.'' For this dynamic artist, the role of Eros was a natural.

"I sort of run things on the love-making front in this ballet,'' she laughs.

"I am enjoying myself immensely. Laurence has a very good eye and is very artistic in his approach. We have extremely strong dancers this year. I'm thrilled to be back.'' Guest principal Jeffrey Watson, often Sophia Cannonier's partner in their Dance Theatre of Harlem years, has appeared in Civic Ballet productions since 1986.

"I felt honoured that she invited me here as there were about 30 dancers to choose from,'' says the dancer who has also worked in such diverse settings as the Metropolitan Opera and Aretha Franklin's US tour. "I love Civic Ballet because it seems to be a family-oriented group, with a very nice working atmosphere. Everybody pitches in to help, whether it's with costumes or sets.'' Of his reputation as the company comic, he says, "sometimes I joke around because people always assume that dancers are very serious people. I like to think we are people first and dancers second.'' A dancer (and singer) who says he found out "early on'' that dancing provided "a good way of meeting girls'', Jeffrey Watson acquired the dance bug after seeing John Travolta in "Saturday Night Fever''. "I was about 12 then, and I decided to take lessons in `hustle'.'' When he saw African-American dancer Sylvester Campbell, he was further inspired.

"I was actually more taken with his partner. I loved all the lifts and that's what really attracted me to ballet. He accepted me for the three-year course at the Baltimore School of Arts. It was a wonderful experience -- lots of inner-city kids, including me. If it hadn't been for that dance programme, I don't know how I would have ended up.'' He ended up singing and dancing in theme parks and a Las Vegas revue before joining Dance Theatre of Harlem where he remained for five years. "Then I toured with Aretha Franklin for two years when she was in a `ballet' phase! When she called me, I didn't believe it was her, which was a bit embarrassing.

Anyway, she sent a huge limo to take me to her house and said she'd heard I was fun to work with. I think she was quite shocked when I did this ballet lift on her because she said "No man has ever lifted me before''. We never actually used the lift -- she was too freaked out to risk it -- but I believe now that was my audition into her company.'' Mr. Watson, who dances Amyntas, is now with Ballet Theatre of Annapolis. "I'm very happy to have been given this role -- it's not often I get the girl!'' The Bermuda Civic Ballet's 25th anniversary production of `Sylvia' will take place in the grounds of Government House from August 20 through 23.

Performances commence at 8.30 p.m. Tickets are available at $30 and $25 ($10 for children) from the Visitors Service Bureau, 10 a.m. to 2 p.m., telephone 295-1727.