Bermuda Civic Ballet's programme of Modern and Contemporary Dance followed by a full-length classic presented under the stars at the Botanical Gardens at the weekend made for a heady concoction of magical enchantment which held its audience spellbound.

Adding to the programme's powers of intoxication was undoubtedly the presence of guest artists, Bethany Keating and Martin Harvey, from Britain's legendary Royal Ballet who took the principal roles in Civic's presentation of 'La Fille Mal Gardée'.

A rare delight was to be able to relish again the consummate skill and effortless grace of these dancers who returned to these shores at the invitation of the Civic Ballet to head its cast following captivating performances in this year's Bermuda Festival.

Once the sun had set and the stars had emerged above a softly lit stage as if in honour of Civic's 35th anniversary, which is quite an achievement for any small company, the magic began. But truly enchanting was witnessing the seamless collaboration between visiting and Bermudian artists and choreographers being played out on the stage before an expectant audience.

The programme opened on a contemporary note with Suzette Harvey's 'Sweet In The Morning' inspired by Bobby McFerrin's composition of the same name. Ms Harvey, founder and director of United Dance Productions and The Bermuda Dance Company, is well recognised as a formidable creative force on the Island. An exponent of grassroots Modern Dance she has a knack for drawing on the rich texture of African rhythm and movement whilst combining it with a western stylised vocabulary. Ms Harvey has not lost her creative edge, but here her work has gained a certain subtlety: soft and undulating in each rub of the hands and each roll through the body. This work exhibits a complex texture in its seamless weave through trio, quartet and ensemble which was comprehensively read by a tightly rehearsed company embracing both visiting and Bermudian talent.

This harmonious encounter was continued through the excerpts from 'Harvest', a contemporary work created by Pascal Rioult of the New York based Pascal Rioult Dance Theatre. His quest is to push the boundaries of Modern Dance through imaginative exploration of classical scores.

'Harvest', which is described as a homage to the pre-impressionist painter, Jean-Francois Millet, and billed as a day in a life in the fields, presents what appears at first glance merely a picture of bucolic reverie in its flowing folksy costumes and danced to Dougie MacLean's yearning fiddle and vocal melodies. But, stick with it. This work has a natural, organic element which flowers in the tender and sensual encounter of the lovers at its heart and danced with touching sensitivity and an almost tactile lyricism by British guest artist Stephanie Elstob and Bermudian Jelani Veney.

This theme of a country idyll was continued in the full-length classical work, 'La Fille Mal Gardée', ('The Unchaperoned Daughter') presented as the programme's climax.

'La Fille Mal Gardée' is set in rural France but transported here to the sub-tropics with the ubiquitous Bermudian backdrop of palm trees gently swaying in the balmy evening breeze. With its opening marked by Herold's lovely overture caressing the grounds of the Botanical Gardens and whispering suggestions of country birdsong, is it too much to dream of a full live orchestra completing this picture of serenity?

Since its debut in France in 1789 the ballet has undergone several re-workings, most notably in 1960 by Britain's Sir Frederick Ashton. In mounting this Bermuda production choreographer David Drummond has drawn on numerous sources of inspiration. Like Ashton before him, Mr. Drummond is not shy of tackling the potentially twee and sickly-sweet and gives this story of bucolic bliss with its simple tale of boy meets girl some meaty substance.

This is no more true than in the role played by Mr. Drummond himself as Madame Simone, a social climber who is desperate to marry her daughter, Lisette, off to the son of a wealthy wine merchant, despite his being a gormless idiot. This cross-dressing role in poor hands can become no more than an arch pantomime dame, but Mr. Drummond imbues her with a touching bathos and maternal instinct which makes her change of heart in favour of Lisette's poor village beau, Colas, at the ballet's end, entirely convincing.

Any descent into schmaltzy sentimentality was also arrested by the presentation's wealth of comedic moments played to the hilt by Keith Madeiros as Papa Thomas, the rich viticulter with expression to rival Kenneth Williams and Lorien Slaughter as his son, Alain, the archetypal village idiot, with a face as grotesquely animated as his body.

The colourful interplay between these characters was good enough for Mr. Drummond to forego Widow Simone's signature clog dance, replacing it with a deliciously clumsy duet between the amorous widow and Papa Thomas, her reluctant suitor.

There could be little doubting the Royal Ballet's reputation for rare technical mastery combined with an absorbing dramatic integrity from the moment Martin Harvey, First Soloist with Britain's signature company, burst onto the stage in a breath-taking jeté. Mr. Harvey and Royal Ballet Soloist, Bethany Keating, were both appearing by kind permission of Monica Mason, the company's director. They brought with them from the Royal Opera House stage Ashton's original choreography which happily included his tender and utterly charming pas-de-deux at the climax to Act II.

Here were two characters, a peasant boy and girl, richly and lovingly drawn and their affection for one another tangible and sweet. Here was the enchanting magic of first love in all its playful chemistry.

In her meticulous account of Ashton's challenging pas-de-deux, Miss Keating held her audience spellbound as she executed a final flourish of stage-sweeping bourees which was riveting to watch. Complementing this fiery, sparkling footwork was Mr. Harvey's powerful and explosive combination of leaps and tour-en-l'air, which he managed to skilfully encase within the limited confines of Civic's small outdoor stage and apparently without compromise.

Miss Keating's gentle lyricism and deft footwork and Mr. Harvey's steely control and charisma were a joy to behold, as much for the members of the corps de ballet as for a transfixed audience. Here was exquisite partnering when the pair proved a graceful pirouette sequence could be completed to perfection despite the dancers being separated by a stable door.

However, this production was far from being merely a vehicle for showcasing guest stars. It was gratifying to see an ensemble of Bermuda's young male dancers who showed impressive lift and sustain in a coltish sequence of jetés, and good control and support on the part of Mr. Veney and James Waddell when partnering Ms Elstob, Alys Owen and Sierra Renae Robinson, who gave sterling performances as Lisette's friends. They also rendered good service in boosting the corps de ballet with their solid footwork.

Mr. Waddell has clearly inherited his mother, Coral Waddell's dance shoes, exhibiting a powerful presence and confident control in his brief solo brandishing a flute.

A well-drilled corps make up of Bermuda's dancers gave an energetic and disciplined display.

They were also beautifully costumed and the simple, yet versatile set was effectively lit. Of course, when it comes to production values, the highlight has to be the adorable Shetland pony and trap employed by Papa Thomas to impress his would-be in-laws. Whether he was successful of not, it certainly impressed an eager and receptive audience.

The Bermuda Civic Ballet's 35th Anniversary Gala Performance played over two nights, closing on Saturday.