Set in woodland glades that abound with nymphs and shepherds, gods and goddesses -- as well as a scattering of ordinary mortals -- `Sylvia' proved to be a happy choice for Bermuda Civic Ballet's Silver Anniversary production i n the grounds of Government House. The gods, however, were in recalcitrant mood on Wednesday's opening night, causing heavy rain to put an abrupt stop to the bacchanalian revels. By Thursday, however, the packed audience could enjoy this rarely produced, but charming classic ballet performed "under the stars''.

The mythological treatment of the eternal love triangle theme in which Diana's nymph Sylvia initially rejects the advances of both the shepherd Amyntas and the hunter Orion, may lack the emotional force of "Giselle'' or "Swan Lake'' but it provides a pleasing dance spectacle. This, allied with Delibes' score, one of the greatest in the ballet repertoire, made the opportunity to view this work a welcome one.

Guest choreographer and director was Laurence Haider. A lifetime of experience as principal dancer with several of the world's leading companies, he has an innate understanding of the classical idiom, as well as the abilities and individual qualities of his dancers. Accordingly, his choreography, theatrically powerful in that the dance language and mime propels the dramatic content, was concentrated around an outstanding group of principals.

Three of these -- Alexandra Duzevic, Alison Masters Smith and Sophia Cannonier Milne -- all professionals, and all trained in their formative years at Bermuda's School of Russian Ballet, are certainly a credit to this small community.

For Alison Masters Smith, who appeared (along with Laurence Haider) in the first Civic Ballet production in 1972, her appearance as the goddess Diana provided an appropriate farewell to the world of dance: emerging out of a year's retirement for this special occasion, she brought her customary radiance to the role. Having wisely enlarged her role, Haider chose this supremely professional dancer to open the ballet in a short but lyrical solo as her forest denizens gathered around her; as always, the technique was impeccable, musically sensitive, with the purity of line and sense of audience rapport that has always been her forte. She will be greatly missed.

Sophia Cannonier Milne, who danced for many years with the Dance Theatre of Harlem, also made a welcome return. Again, Haider made the most of her very individual style which combines an exotic technique with considerable dramatic powers. As Eros, who referees the machinations of nymphs and mortals (using arrows of love to literally drive her wishes home), she was in her element.

Sweeping round the stage in cloaked disguises, she brought a captivating technical bravura to this pivotal role.

Alexandra Duzevic's interpretation of Sylvia was something of a revelation.

This nymph has to act as well as dance: playful, flirtatious, rueful, cunning and, finally, loving -- all emotions that must be expressed within the classical dance language. Duzevic rose shiningly to the occasion. The gruelling demands of her year in Moscow have greatly strengthened an already impressive technique -- which tends to the subtle rather than the flamboyant.

This attribute stood her in good stead in a role that demanded (and received) dramatic commitment. By the second performance, initial nervousness had disappeared, and she danced with sparkling fluidity, unusually crisp elevation and beautifully held arabasques.

Haider's insight into his dancers' abilities produced cleverly understated choreography that always captured a sense of place: the mix of Hellenic and oriental influences was especially apparent in the powerful grotto scene where, captured by Orion, Sylvia uses her feminine wiles (as well as some handy goblets of wine) to lull him into a false sense of security. The sinuous and decidedly seductive pas de deux with Orion was one of the choreographic highlights of the evening.

Guest artist Rodolphe Cassand, who danced Orion, is one of the finest dancers to have appeared with the Civic Ballet. French-trained and formerly a member of Roland Petit's famous Paris company, he was the perfect choice for "the dark hunter''. An attractive dancer of mercurial fluidity, strength and speed, every movement was finished with the assured precision that comes only with the best classical training.

Jeffrey Watson, a regular who has been guesting with the Civic Ballet for a decade now, took on the role of Amyntas, and proved a sympathetic partner in this arduous three-act work.

Lorien Slaughter, a student of the Royal Ballet School, appeared as both a forest faun and a villager. A promising dancer with good elevation, he proved a valuable addition to this production, dancing with gusto and intelligence.

He partnered Ashley Miller, another promising young student with an intriguing stage presence.

Rounding off the revels of the final act when the evil Orion has finally been slain, and Eros has prevailed upon the goddess Diana to consent to the union of her nymph with the shepherd, David Drummond appeared as Bacchus. This was a cameo role, but the assistant director who has done so much over the years for the Civic Ballet, provided a case study in stagecraft as he led the festive ensemble into the final tableau.

The corps de ballet, having to rely on a tiny pool of dancers, was patchy in its abilities. While most of the students were adequate, there seems to be a cyclical dearth of up-and-coming talent right now. Where, we might ask, are the Alisons, Sophias and Alexandras of the future? The outdoor setting for "Sylvia'' was well-nigh perfect -- although the collection of plastic tubbed plants on each side of the stage were more reminiscent of Aberfeldy Nurseries than an enchanted wood. And with a quarter of a century now behind them, the Civic Ballet really needs to give some serious thought to the idea of engaging costume and stage designers. In a country that has justifiably earned plaudits throughout the rest of the performing arts for outstanding stage sets, the pillars and "temple'' of the second and third acts were sadly lacking in design and execution.

Thankfully, Laurence Haider stepped into the breach and with a dedicated band of sewers, produced stunning costumes in rich forest greens, Hellenic white and golds, which made much of dashingly sumptuous cloaks, glittering tunics and jewelled turbans.

All in all, the Bermuda Civic Ballet should be proud of Laurence Haider's production of "Sylvia''. It adds a fascinating facet to their repertoire and ranks as one of the best productions seen in the last 25 years.

PATRICIA CALNAN