Ballet West soars in 'The Dream'

Ballet West's 2009-2010 season opener, "The Dream," paid homage to its heritage, not only in the measurable terms of pioneer history or the impressive assemblage of regional vocalists and musicians, but also in presenting the original intention of classical ballet as entertainment.

Friday evening opened with "Songs of The Valley," choreographed in 1976 by past Ballet West artistic director Bruce Marks. "Songs of The Valley" was originally choreographed for America's bicentennial and as a tribute to the joys and hardship of Utah's pioneers.

Stylistically, the ballet harks back to a time when choreographers such as Agnes de Mille and Jerome Robbins delighted audiences by integrating song and dance directly with story.

Marks' narrative of family, love and loss remain relevant topics and Ballet West's performance is still fresh.

On opening night, bass baritone soloist Darrell Babidge filled the Capitol Theater with his resonant voice and Kurt Bestor guest-conducted the familiar Americana music of Aaron Copland.

Dancers Thomas Mattingly, Arolyn Williams, Whitney Huell and Kira Smith were outstanding, and the costumes and set design by Paola Fiumedoro added new life to the piece.

The evening featured many guest musicians. Piano soloist Jared Oaks' on-stage accompaniment wed together the three sections of choreographer Ben Stevenson's "Three Preludes."

This ballet is described in the program as a small masterpiece,

Performed on opening night by dancers Romi Beppu and Michael Bearden the pas de deux took on a complexity beyond the typical romantic dance for two.

Beppu is in her second season as a principal dancer with Ballet West, and on opening night, she finally combined her masterful technique with a relaxed and richly expressive performance. Principal dancer Michael Bearden reflected each line and dynamic change Beppu took, generously supporting his partner and offering his light touch for her to be drawn in or gently released.

Closing the performance was Sir Frederick Ashton's "The Dream," a rollicking, humorous take on Shakespeare's "A Midsummer Night's Dream." First performed by The Royal Ballet in 1964, the precision and demands of Ashton's choreography never get easier, especially for the lead character Oberon, danced opening night by Christopher Ruud.

Ruud struggled with the part, but guest principal dancer Sarah Webb as the Fairyland Queen, Tatania, is as exact as she is fluid and their ending pas de deux was touching.

The fairies, especially demi-soloist Victoria Lock, inspired the successful telling of the story. Their quality of movement and individual expression peaked both the humor and energy.

The Rustics, particularly artist John Frazer, injected the right amount of physical humor. Demi-soloist Christopher Sellars danced the sprite Puck with a sense of wonder and playfulness. Also, students from the Salt Lake School of Performing Arts sang in "The Dream."