Ballet West's double bill at the Capitol Theatre on Friday was titled for the featured, two-act story ballet "Madame Butterfly," but the twenty-minute, idiosyncratic contemporary piece that opened the program stole the show.

"Gong" by Mark Morris is simply the right piece at the right time, on the right company. And this company couldn't have looked any better in it -- men and women alike. Morris' choreography requires clarity from the dancers, and not just in the multitude of shifting lines, unusual metered rhythms and organization of the stage, but also of intention.

As each section and idea layer upon the next, the Ballet West dancers remained absolutely clear of both place and purpose. The visual references to classical structure and steps and even to specific pieces, such as Nijinsky's "Afternoon of the Fawn," are respected but tweaked in this piece. "Gong" seems less a parody or deconstruction of ballet, and more a way to unconsciously spark memories of previous times when new artistic ground was broken.

Soloist Kate Crews was completely in her element, and after her duet with Beau Pearson, the audience burst into spontaneous applause. The quirky balances and counterintuitive lifts ignited Crews and Pearson's chemistry. New company member Thomas Mattingly's precise technique frees him to find the essence of the movement and generously share it with the audience.

"Gong" costumes by New York fashion designer Isaac Mizrahi were of such flattering proportions, and in colors that popped, adding dimension to the stage. The lighting was an artistic statement in itself, at times throwing enormous, stark shadows against the back scrim. And guest conductor Adam Flatt brought life to the Balinese-influenced gamelan music by Colin McPhee.

The title piece on the program was Stanton Welch's interpretation of Puccini's 100-year-old opera "Madame Butterfly." This two-act ballet is a stirring and emotional piece, which ends as strongly as it begins with a few flaws in between. It is refreshing to see a story ballet about real people and events, but I would strongly suggest a thorough reading of the program notes before attempting to follow the sometimes-complicated plot.

Act I is a lot of story telling that leads up to an incredibly demanding and passionate pas de deux between the geisha Cio-Cio San (Madame Butterfly) and her lover, U.S. Naval officer Lieutenant Pinkerton. Danced by new Ballet West principal Romi Beppu and guest dancer Houston Ballet soloist Nicholas Leschke, the pas de deux on opening night was rather rough. The difficulties could have been due to Leschke's very recent call to stand in for Ballet West principal Christopher Ruud, who was suddenly out due to an injury. The problems even looked as if they could have resulted from Beppu's costume being slippery, but the cueing and timing were off to a noticeable degree. However, Beppu was otherwise lovely throughout the performance.

The dancing in Act II was much more secure and the choreography clearer in the plot and emotional content. Soloist Peggy Dolkas was strong and fluid as Butterfly's personal friend and maid. Demi-solosit Christopher Sellars pegged the role of Goro the marriage broker, delivering a three-dimensional characterization, lending both humor and honesty to the part.

This review would not be complete without mentioning the adorable Hayden Tyler Smith whose part as Butterfly's Sorrow Child, brought to life the story's deepest sadness of Butterfly's selfless decision to give up her son to Pinkerton and his American wife.