DANCE REVIEW: Balanchine, Tuckett, Bruce

Once again, Director Iain Webb proved to be a master repertoire setter by creating a show which featured diverse styles of dance — neoclassical, lyrical and folk — with George Balanchine’s “Rubies,” Will Tuckett’s “Lux Aeterna” and Christopher Bruce’s “Sergeant Early’s Dream.” The Sarasota Ballet dancers continue to impress with their increasing talent and strength in all versatile forms of choreography. The production was complete with the accompaniment of live music performed by the Sarasota Ballet Orchestra and Key Chorale conducted by Joseph Caulkins.

This program kicked off with Balanchine’s “Rubies,” which is part of his three-act ballet, “Jewels,” which is set to music by Igor Stravinsky. The dancers bedazzled in deep-red costumes that glittered with ruby-like jewels, which clattered and clinked while they jumped and turned. The corps de ballet, which included eight girls and four boys, was especially strong in this utterly classic Balanchine-style piece that includes a mixture of angles, off-balance positions, turned-in passés and fancy, fast footwork en pointe.

Kristianne Kleine was a vision of one of the Balanchine stars — Merrill Ashley. As the soloist, Kleine demonstrated the strength and agility as Ashley did when she was on stage. Kleine was stunning with her incredible long lines, perfect pirouettes and athletic jumps. She even looked as if she were going to kick herself in the head in a series of fouettés to attitude derrière.

Just coming off a Will Tuckett high from “The Secret Garden,” the audience was treated to more of his choreography. The Sarasota Ballet reprised Tuckett’s “Lux Aeterna,” which is a visual symphony. Despite the low-lighting effects by Aaron Muhl and the gray simple costumes by Bill Fenner, Tuckett’s choreography is rich with intricate interweaving movements, lifts and group poses.

The ballet started out with a powerful scene. All the men moved forward in slow motion as if in battle. Slowly, one by one fell down, as if shot, leaving the lead male, Ricardo Graziano, standing with his “guardian angel,” Danielle Brown, ethereally arriving onstage to protect him. Graziano and Brown were incredibly expressive and danced beautifully to the moving chorus of Key Chorale.

Christopher Bruce’s “Sergeant Early’s Dream,” which is set to a selection of Irish, British and American folk songs, was an audience favorite of the program. The piece is like an Irish version of Agnes de Mille’s “Rodeo.” The entire cast of this piece was incredibly strong, expressive and funny, while tapping their feet and skipping as if dancing an Irish jig. The highlight of this piece was a hilarious drunken dance by David Tlaiye, Juan Gil and Logan Learned, who were sloppily proclaiming their love to Peggy Gordon, Kate Honea, who tapped her foot in disdain in the corner.