Ballet West's 'Tempest' is a mystical and magical work of art

"THE TEMPEST," Ballet West, Capitol Theatre, Friday, additional performances through Nov. 15, (355-2787)

The most poignant segment of Ballet West's performance of Michael Smuin's "The Tempest" happened during the bows.

Christopher Ruud, who danced the role of Ferdinand Friday night, raised a flower to in salute of his late father Tom Ruud, the original Ferdinand when "The Tempest" made it's world premiere with the San Francisco Ballet in 1980.

The younger Ruud not only filled his father's dance shoes, but also would have made him proud.

The work, based on William Shakespeare's classic comedy, was true to form with heart-tugging poignancy, humor, wit and, of course, bawdiness.

The dancers' extensions and sculpturelike holds — especially during the pas de deux between Juno and Neptune (Romi Beppu and Beau Pearson), and Ruud's Ferdinand and Miranda (Sara Webb, who appeared courtesy of the Houston Ballet) — drew wide-eyed gasps and appreciative applause from the audience.

Also of note were the strength of the brotherly male pas de deux between Prospero (Jason Linsley) and his servant Ariel (Christopher Sellars), and the drunkenly humorous pas de troi between Caliban (Hua Zhuang), Trinculo (Christopher Anderson) and Stefano (John Frazer).

The solos from Christiana Bennett's Iris to Kate Crews' Ceres and Aaron Orlowski's tipsy Bacchus were the highlights of the second act in addition to the Juno and Neptune pas de deux.

The soundtrack-worthy score, by award-winning composer Paul Seiko Chihara and the sets and costumes by Tony Walton and Willa Kim, wrapped up this mystical and magical work of art that kicked off the company's 2008-09 season.

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E-mail: scott@desnews.com