'Ballets Russes' challenges and charms

"TREASURES OF BALLETS RUSSES," Ballet West, Capitol Theatre, March 27, additional performances through April 4 (801-355-2787)

A bit of dance history took the Capitol Theatre stage when Ballet West opened its run of "Treasures of Ballet Russes" Friday night.

Three diverse works from the repertory of the late Sergei Diaghilev's pioneering Ballet Russes company, which had its heyday between 1909 and 1929, not only displayed that company's artistic vision, which included choreography, costume and set design and music, but also challenged the Ballet West dancers, who, in turn, rose to the occasion.

What a way to celebrate Ballets Russes' 100th anniversary.

First up was Bronislava Nijinska's 1924 playful "Les Biches," meaning "The Little Darlings." The work, featuring Kate Crews as the seductive hostess, the mysterious page danced by Romi Beppu and three athletes — Rex Tilton, Jason Linsley and Thomas Mattingly, was highlighted by color-complementing costumes and bold-lined backdrops.

The dancing was light, nimble and sassy, riddled with campy poses, and captured the carefree feeling of the bygone era. With the Francis Poulenc score performed by the Utah Chamber Orchestra and choral soloists, it was the perfect piece to start the evening.

George Balanchine's athletic and dynamic "Prodigal Son," which premiered in 1929, brought the biblical parable to life, with heart-touching emotion.

Christopher Sellars took on the title role Friday night with tight precision and angst-filled energy that complemented the intricate score by Sergei Prokofiev. Christiana Bennett stole his heart with her fiery siren, and the irreverent and buffoonish drinking partners added a good dose of choreographic humor.

Last in the sequence was Michel Fokine's 1909 heat-pounding piece "Polovetsian Dances." The work is an excerpt from the full-length Alexander Borodin opera "Prince Igor."

The juxtaposition of the warrior's physicality, headed by Aaron Orlowski, and the flowing and delicate submissiveness of the slaves brought a sensual tension to the stage. With the addition of the celebratory dances by the warrior wives, the work captivated the awestruck audience, which had no other choice but to give a rousing standing ovation.

Before the performance, Ballet West artistic director Adam Sklute addressed the audience and urged its members to imagine a time where the only ballets to date were based on fairy tales and story books.

"Ballet Russes changed the way ballet would be seen and performed," he said.

And it definitely changed the way Friday's audience saw Ballet West.

e-mail: scott@desnews.com