The Ballet West dance company is celebrating its 40-year legacy with its versions of three important dances by both world-renowned choreographers and a Ballet West soloist-turned-choreographer.

	Ballet West's "A 40-Year Fascination" offers several fascinating dances.

or “A 40-Year Fascination” program, which opened Oct. 31 and plays through this weekend, Ballet West presents three different works, all fascinating in their own ways.

Richard Tanner choreographed the show’s opener, “Ancient Airs and Dances.” Originally choreographed for the New York City Diamond Project, this piece uses Baroque music by Ottorino Respighi, with a neoclassical dancing style. The company danced with lively expression and flawless technique. Soloist Tonia Stefiuk was stunning as usual, with her beautiful presence and dynamic movement quality. The three principal couples were gorgeous, each with their own individual style. Bouncing ponytails gave the three women an innocent and playful look. Michiyo Hayashi and Rene Daveluy stood out with their brilliant attack and connection to one another. Hayashi dances with wonderful fluidity and is so versatile—whether she’s moving fast or slow, she makes everything look effortless.

One thing that bothered me was the costume design. The short, black skirts and tops did not match the Baroque music. White would have better conveyed the sense of purity and innocence of the piece.

Nevertheless, the piece was fun to watch, with its syncopated rhythms and agile footwork. It was also nice to see a large male corps that actually danced. Far too often it seems as if the men are only there to partner the women. This piece showed that indeed, the men can dance, and they’re good at it, too.

“Artifact II,” choreographed by William Forsythe, contained many abstract elements. The wings were stripped from the stage and only a black curtain served as a backdrop. A “Mudwoman” led the dancers while wearing yellow leotards and tights in a follow the leader-type sequence that resembled an exercise class. Meanwhile, two couples, Amy Foster with Christopher Ruud and Mary Pat Rysdon with Rene Daveluy, danced the busy choreography, each couple vying for the audience’s attention.

The sharp, angular movements were danced with precision and both couples displayed impressive strength and ability. As the dancing got faster and faster, the curtain would come crashing down, increasing the tension. These periodic curtain crashes were actually a bit distracting, and made me feel frantic, but perhaps that was the point. The lighting, which grew progressively darker, was an interesting concept, as the dancers’ shadows could be seen in the backdrop. This accentuated the never-ending lines of the couples and the fact that there are no limits to any kind of movement.

George Balanchine’s grand masterpiece, “Theme and Variations,” closed the show. Choreographed in 1947, this ballet is just as innovative today as it was back then. The ballet, as well as the music by Tchaikovsky, begins with a theme, which is followed by variations based on that theme. Complex patterns and musical nuances define this piece. Kristin Hakala and Seth Olson were impressive as the lead couple. Although at times they struggled with the challenging choreography, they never lost the air of authority required of a ballerina or dancer. The corps sparkled as they performed the intricate steps with musical joy. The gorgeous tutus and the chandeliers that hung from the ceiling added a nice finishing touch to an evening of fascinating dancing.

“A 40-Year Fascination” runs through Nov. 8. Tickets range from $10-$65. Show your student ID at the Capitol Theatre ticket office one hour before the show and receive up to two half-price tickets. All performances begin at 7:30 p.m. with a 2:00 p.m. matinee on Saturday.
marissa@red-mag.com