'Divertimento No. 16' reviews 'Tempo di Valse' reviews 'Tchaikovsky Pas de Deux' reviews 'Serenade' reviews Boal in reviews Fournier in reviews recent Suzanne Farrell reviews more Renee Renouf reviews

For the first time around, this concentration on captive audiences, since a portion of any U.S. student's college fees is earmarked to support such cultural benefits, is common sense; even though the Farrell Ensemble is now a permanent fixture at the Kennedy Center and enjoys a $1.5 million subsidy from that arts complex along the Potomac River. In Sillicon Valley, de Anza College's Flint Center canceled the engagement because of the paucity of advanced sales from the direct buying audience. Farrell's management did not have to worry in Berkeley, however either November 14 or 15. Next to the sell-out performances of the Kirov, Mr. Balanchine's protégée and her ensemble rated near capacity and a very warm, appreciative audience.

Mr. B. would have been gratified, not only at the audience, but the spirit his most noted protégée coached her dancers. He might possibly have quibbled with her name recognition, but if it takes that to promote worthy artistic efforts, so be it.

For casting, there was a potpourri of principals, drawn from New York City Ballet (Peter Boal); National Ballet of Canada (Jennifer Fournier and Chan Hoh Goh) and Boston Ballet (April Ball) plus the eager students who have been with and around her since she started her summer seminars, making the ensemble total 34.

The repertoire seen was Divertimento No. 16; Tempo di Valse (Waltz of the Flowers from Nutcracker actually); Tchaikovsky Pas de Deux; Serenade. UCLA rated Apollo and Variations for Orchestra.

The corps de ballet leaned to the small sized dancers, but also contained several large boned dancers in its midst; with two exceptions the men followed suit. Boal might have been a twin to a youthful Enrico Cecchetti in proportion and precision, seen only in the scintillating Tchaikovsky Pas de Deux with Chan Hoh Goh. A nicely matched pair, they came close to the sparkle and panache I remember with Violette Verdy.

Divertimento No 15 was a first for me, obviously created when New York City Ballet was still housed at West 55th Street, and could number among its active dancers Maria Tallchief; Diana Adams; Melissa Hayden; Patricia Wilde; Yvonne Mounsey and Tanaquil Le Clerq. April Ball's only variation of the evening came in Divertimento, executed with amplitude and full phrasing, obviously drawing on the Russian influence she experienced with Boston Ballet. Jennifer Fournier was kept inordinately busy in what must have been Maria Tallchief's assignment - lots of fleet footwork and changes in direction. The earliest variation is a dizzy variety of port de bras and some swift changes in direction and epaulement. Divertimento #15 was sweetly danced, if the tutus were a web of lavender stripes, diagonal and horizontal, making the choreographic complexity even more challenging to watch. Like the minimal floating chiffon for the Waltz of the Flowers, simple but imaginative solutions seemed out the window.

Besides the Tchaikovsky pas de deux, the gem of the evening was a crystalline, beautifully motivated Serenade which scarcely shows its nearly seventieth birthday. Natalia Magnicaballi, Shannon Parsley, Bonnie Picard, with Runqiao Du as the man who is led by fate and Alexander Ritter as the gallant waltzer, did themselves as well as the ballet full measure.

Ms. Farrell did not come on stage to acknowledge her singular accomplishment, but Hollis Ashby in her opening caveats to the audience, mentioned the recent announcement of Farrell's receipt of the National Medal of the Arts. As a high school drop out and recipient of an honorary degree from Yale University, nothing succeeds like a life-long focus, and, of course, talent. I hope the ensemble returns soon.