When David Allan first became involved with the National Dance Theatre of Bermuda (NDTB), 11 years ago, he was on the brink of what would prove to be a meteoric career as a choreographer.

Today, he is acclaimed from North America to Europe as one of the leading creative forces in the international world of dance.

Far from abandoning his ties with Bermuda, however, the man whose first ballet for New York City Ballet was named by The New York Times as "one of the Top Ten Events of 1992'', has strengthened his association with the local group.

It would be no exaggeration to say that David Allan is Dance Theatre's permanent guest choreographer and teacher -- which probably goes a long way in explaining their increasing expertise as an "all round'' dance company.

This summer, he has been working here on the Snow Scene from the first act of Tchaikovsky's ever-popular ballet, "The Nutcracker'', to be presented in full by the NDTB for the 1997 Bermuda Festival. He staged the second act for the 1993 Festival, the first time a local company had been chosen to participate in the annual celebration of the arts.

In the US, David Allan's most recent project, choreographing the revival of Rodgers & Hammerstein's "Cinderella'', with Phyllis Diller, Georgia Engel and the Joffrey Ballet, has been receiving rave reviews.

Described by The New York Times as "a find'' and "a major talent'' and in constant demand by the great companies of the world, David Allan remains refreshingly modest, seemingly even somewhat surprised by his success.

"I think Bermuda is a very wonderful place -- the only place in the world where I can truly relax. I get some real time for `David' and I come away with a sense of personal inspiration -- a re-charging of the batteries. At the same time, I am able to work and help the Dance Theatre,'' he says.

He has praise for the dancers of NDTB, as well.

"To their credit, I can say that I also staged this scene for Hartford Ballet and part of it for my own company in California -- and Bermuda has handled it okay! There are just a few places where I've simplified the choreography -- but barely.'' His one disappointment about the Island is the lack of a theatre that will do justice to the completed, full-length ballet. From the terrace of "wonderful'' Waterloo House, where he has been staying, he gestures towards the shell of the old Bermudiana Hotel.

"Why is it still sitting there like a dead horse? Why not use the site for an arts centre? There is so much going on here, in all the arts -- and nowhere to perform. You have cultured people here who are educated to the hilt.

"I think there would be huge support for an arts centre in Bermuda. People were talking about it 11 years ago, when I first came here -- and they're still just talking! I hope that when the full "Nutcracker'' is launched, it will become an annual Christmas event -- but you desperately need an adequate theatre.'' Mr. Allan admits that his fondness for the Island is mixed with a sense of nostalgia, as it was here, during the 1984 Bermuda Festival, that his very first piece of choreography was presented by the National Ballet of Canada.

"It was my Khatchaturian Pas De Deux, and when we were at a Government House reception afterwards, Louise Jackson asked who the choreographer was. All heads turned to me and she said, `That child? Well, I love that pas de deux!' Anyway, by the time I left the reception I had been invited back to teach at her school and to do something for Dance Theatre.'' He has been coming back ever since. "I had originally done that piece specially for Veronica Tennant (prima ballerina), who wanted something dynamic and spectacular for a single `guest' appearance.'' When the late Erik Bruhn, artistic director of the company (and one of the great dancers of this century), saw Mr. Allan's pas de deux, he decided that the company would take it to Bermuda for the Festival: "So you can see, I have a very soft spot for Bermuda! This is where it really all began.'' His introduction to the world of theatre was equally spectacular.

"When I was about 13, the Stuttgart Ballet came to St. Louis, and held an `open' class for all the local kids. About 200 of us were there, and Marcia Haydee (leading ballerina) took the class. She and John Cranko's personal assistant picked me out and offered me a place at the Stuttgart Ballet School.

But my parents weren't too keen on my going such a long way. The next thing I knew, the Stuttgart company had telephoned the National Ballet of Canada School, who accepted me on the spot, on Stuttgart's recommendation. Two days later, I found myself off to Canada on a full scholarship!'' So how did a boy from St. Louis, whose father is an ex-marine and a black belt in judo, get involved in ballet in the first place? It turns out that, as for so many, it was the magical partnership of Fonteyn and Nureyev that altered his life.

"They were appearing at the Muny Opera, which is the largest outdoor musical venue in the US -- holds 13,000 people. My parents took me along and I think I was hooked even before the overture was over! It was `Romeo and Juliet'.

No wonder then, that his return earlier this month, to the Muny with "Cinderella'', was an emotional time for him.

"I got my first stage experience there when I was a kid, in `Oliver' with Sid Caesar and Robert Merrill, so it was great to stand there and see a new generation of kids -- a nice, full circle for me! My mother was ecstatic, of course -- the Muny is such a big deal!'' David Allan became leading soloist with the National Ballet of Canada, and at one point, toyed with the idea of becoming a dance teacher.

"Erik Bruhn knew this and rang me up one day and asked to me take company class. When I got there, Nureyev was there, waiting for his lesson! After Choreographer helps local dancers to learn give him a class. I was only 26 then, so it was quite an honour! I have been so fortunate, with people like Erik and Veronica helping me so much.'' Just one year after his choreographic debut, Dance Magazine was hailing him as "Canada's Sky-rocketing Choreographer'', and since then, he has created more than 35 ballets, eight of them commissioned by Bruhn. He believes it was his production of "Cinderella'' for the Marin Ballet in San Francisco, however, that finally brought him to the notice of the New York City Ballet.

"It just so happened that Natalia Makarova was chairing the Marin event, because immediately after that I got a phone call from New York. At first, I thought it was a joke, but they managed to convince me it wasn't a hoax. So I did `Reunions' which was a great success, and last year, they invited me back to do `Pastoral Dances' for them.'' Mr. Allan returns to Bermuda for more rehearsals next summer and will then devote at least a month of his time in December to putting the finishing touches to the Dance Theatre's "Nutcracker'' for the Festival.

"When I came here ten years ago, it took me four weeks to choreograph a piece. This time, the `Snow Scene' took six days, so NDTB has accomplished so much -- it says a lot about the standard of teaching on the Island. I would like to feel that I have had a big part in that,'' he said.

"I've just been teaching some nine and ten year-olds here. What a difference from 11 years ago! In those days, when I taught an exercise, I would turn round and see that half the dancers had ended up on the floor! I'm not just a choreographer, you see, I am also teaching people how to dance! If I can't do that, I shouldn't be here. All dancers need help to make them the best they can be. And that's the case anywhere -- not just in Bermuda. It's as true of New York City Ballet or the National Ballet of Canada.

"I think I have helped to create better dancers and better teachers, it seems to be part of my gift, to help people give of their best. If I don't make a difference for the dancer -- or the audience -- why bother?'' Which comment says as much about David Allan the man as it does about David Allan, top choreographer.