'Giselle' enthralls as a romantic storybook

BALLET WEST, Capitol Theatre, Friday; additional performances Wednesday-Saturday, 7:30 p.m., and 2 p.m. Saturday (355-2787).

Giselle is too good for her two-timing boyfriend Albrecht. She even comes back in spirit to save Albrecht, the same man who caused her so much grief that she died of a broken heart.

Then again, he does have to live with what he did.

Ballet West leaped into its new season Friday evening with artistic director Jonas Koge's reworking of the classic "Giselle."

The ballet gave the audience a great romantic storybook performance filled with technical dancing that not only kept the principals busy, but showed off the corps, as well.

The story is about a young woman named Giselle, danced Friday evening by Maggie Wright.

She falls in love with Loys (who is really Duke Albrecht), performed by guest Stanislav Belyaevsky, of the Finnish National Ballet.

A young man named Hilarion, whose role was taken on by Christopher Ruud, discovers Loys' real identity and exposes him.

Giselle, who already suffers from a weak heart, is distraught, and when she finds that Albrecht is betrothed to Bathilde (Christiana Bennett), she dies

Wright brought Giselle to life Friday. Her spry steps reflected her character's youth.

Belyaevsky was a little tentative at first. The high-leaping dancer seemed a bit cautious during the first part of the first act, consequently missing the mark on a few emotional moments.

But as the act progressed, Belyaevsky caught on to the role and gave it a shot of drama, especially during Giselle's death scene.

The corps de ballet acted as the glue that held the scenes together while the principals stepped into their roles. The corps' energy livened up the stage each time it made an entrance.

The peasant pas de deux, whipped up by Tonia Stefiuk and Elye E. Olson, brought the audience to loud and appreciative applause.

During the second act, Bennett took on the role of Myrtha, Queen of the Wilis, spirits of young women who have died before being married. Her introductory solo set the act's gothic tone.

Both Leslie Ann Larson and Michiyo Hayashi, in the Wilis roles of Zulme and Moyne, respectively, danced their parts to perfection.

The same can be said of the other Wilis. Their variations were concise, visually pleasing and absent of any missteps.

Koge's version of "Giselle" captivated audience members and left them wanting more.

This one is a keeper.

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E-MAIL: scott@desnews.com