Dublin Convention Centre

La Sylphide’s launch in 1832 ushered in ballet’s Romantic era. The women appeared ephemeral and otherworldly dancing in long white tutus, moving as if propelled by the supernatural. Ballet today accentuates the athleticism of the human body so much that even gliding off the floor seems realistic.

While the Monica Loughman Ballet accurately portrayed the femininity in the pivotal La Sylphide, her company’s rendition often felt more earthly than transcendental.

Loughman hired Elena Evseeva and Anton Korsakov of the Mariinsky Theatre to perform the leads in this ballet blanc (as the “white tutu” ones originally were called), and the pair merely hinted at the magic that must have marked the 1832 Paris Opera opening. That premiere made Marie Taglioni famous, and from then on, dancing en pointe became de rigueur for ballerinas across the world.

Loughman adapted a second version of La Sylphide for Dublin audiences – that of renowned Danish choreographer August Bournonville. He gained notoriety in the 19th century for making the most dramatic steps look effortless, and showcasing the men as much as the women in an art form where the ballerina reigned supreme.

Here, Evseeva’s luxuriously long legs and expressive hands complement Korsakov’s understated, impressive jumps, but her spirit lacks the enchantment necessary for believing she is the seductress causing the handsome James to jilt his bride. Loughman dances the forsaken Ellie with a supervisory presence.

The increasingly expanding corps appear polished throughout, offering distraction from the poorly taped music and engulfing venue. The performance of Aoife Shinners as Madge exemplifies the challenges ahead: how a young company gaining experience will make the leap to presenting ballets full of the dynamism and athleticism prevalent in the more mature companies working today.

Tours during April