Bucolic transubstantiation of a ballet rehearsal, as a result of which everyone wants something other than what
would be best for them. But only Eros really knows what is best for anyone. It emerges from the happy ending – if
this wasn’t clear from the start – that having little cupids painted on the wall might drive everyone to distraction.
Amyntas and Orion both love Sylvia, but Orion also loves Diana, who requites Orion's affection while at the same time wishing to seduce Amyntas.
How old is the story? As Greek mythology - or even older. Perhaps the lives of the unicellular were already determined by love triangles, rectangles and octagons. Laszlo Seregi made a lasting ballet out of an everlasting story.
In the 19th century, a Parisian ballet company is preparing for the premiere of Sylvia, and the love-angles from the Greek mythological drama develop among the artists themselves. The narrative concurrently follows the development on stage as well as behind the scenes, using the evergreen technique of theatre within the theatre.
Seregi makes sure that switching between the two plots does not make the audience feel squeamish with confusion and ready to scurry home - no, he does it in his own effervescent, accessible fashion. With charm.