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The sets and costumes, furnished by Eugene Ballet (designed by Amy Panganiban, Lito-John Dementita, with additions by Mahon and Nancy Daly) were up to the task of representing what needed to be, without fussiness, though certainly not opulent or even luxurious. However, the confluence of the costumes in front of these scenic designs set one another off well enough that opulence wasn't really missed.

Tchaikovsky's music was taped and while that makes it predictable, it also makes it unadaptable as the living wand of a conductor would have done. Let me happily state that it has been a very long while since I have found myself in the theater with taped music that wasn't extremely overloud. This time the volume was adequate as well as comfortable. My ears were thankful.

The production itself went seamlessly: puffs of smoke greeted Carabosse, scenic changes were smooth - a fully equipped theater being used as it should be used and performing as it should perform. These items are usually only noticed (and mentioned) in their absence, but should be noted in their presence.

The several dances for the corps de ballet incorporated often complex floor patterns and it was a pleasure to watch them confidently performed - no mishaps - no near mishaps, just a continuous motion of color and dance with which any company would have been happy. This was especially true of the garland dance. It was obviously well rehearsed and so it was well performed and deservedly applauded. The mime scenes were fully rendered with clarity and I was happy to see that no attempt was made to eliminate this important part of the ballet; they are an elemental segment of both the dance and the story.

The Company has discovered the secret of silent pointe shoes. It helps the illusion immensely and I can think of a couple of world class companies who could profit by it. Technically the dancers have a solid classical foundation: clean quick petit allegro, soft arms, generally good flow of movement, preparations not overlong, and endings generally on target. Bourrées whilst moving swiftly still remained properly crossed in fifth position, and with only one or two lapses, feet were fully stretched in grand allegro as well as in petit allegro where it is most difficult. More often, though a grand jeté stretched out in front, it lacked the complementary stretch up in back.

Staatsballett Berlin Principal Dancer Polina Semionova danced Aurora partnered by Royal Ballet First Soloist David Makhateli as Prince Desiré; both of them guest artists with California Ballet for the two day run of three performances. Semionova is a long limbed dancer with a softly nuanced upper body supported by a solid technical underpinning. Her Rose Adagio was confident if not totally rock solid (only a sway or two); she was a happy Aurora, celebrating her birthday party and then celebrating the Prince who kissed her back to wakefulness.

Mahketeli gave a delightful extra flourish as he literally tossed Semionova into a particularly beautiful fish dive finish in the grand pas de deux. The ending to his variation within the grand pas de deux necessitated an unfortunate hand down to the stage for support, though he fought manfully to hang on to the overbalance. It served as a reminder that the dancers are human and not automatons. It didn't unnerve him, however, he kept his composure and finished the pas de deux, he and the audience none the worse for a momentary blip. He portrayed a prince very happy to have found a sleeping princess in need of a kiss.

California Ballet's own principal, Jennifer Curry, was a persuasive Lilac Fairy easily convincing the lonely prince to follow her. At the birthday party she radiated goodness of heart forestalling the evil designs of Clarissa Palhegyi's full blooded Carabosse. In the first scene Curry's sequential grand flic flac turns became a bit ragged, but otherwise she accomplished her role with confidence. She needs to shade her timing a bit more in the upper body which would lend more depth to her dance.

From the beginning of the ballet my eye was caught by Mariko Kikuchi who danced several parts including Princess Florina in the Blue Bird Pas de Deux opposite Guest Artist Evgeniy Lushkin. In a company with soft arms, Kikuchi's are softer - beautiful to her finger tips. She is lovingly proportioned and obviously enjoying what she is doing. Only one tattered finish during her Blue Bird variation reminds that she is still young and still "on the road." But, she is certainly one worthy to notice. In the third act Pas de Trois danced by Alyssa Darrow, Kristie Cordle and Laura Hicks, all gave good account of themselves with Cordle's variation especially spirited.

As I watched the ballerina Semionova and contrasted her movement with that of the Company's own principal and soloists the differences between them was not in height of extension, or line of foot, but in the open chest of the guest ballerina and the subtle but luxurious beauty of her epaulement. How she articulated her upper body lent time and tenderness to her dancing and it gave her more opportunity for shading and depth.

As with so many local companies that are striving to present good dance, the sorrow is in the dearth of male members. The several on stage for this performance acquitted themselves well; turns were clean, group timing fairly consistent, feet stretched. But one searches for the elegant lines of the next prince.

What the Company really needs is more dancing to do. They need to dance in the large Civic Center Theater with a fuller season by many times. The school has produced talent in the past but the dancers then leave to find full time employment elsewhere, and so the Company has to start over again. Providing this opportunity for full time employment is, of course, dependent upon what the local public will support, and that's the rub of the problem. San Diego needs to be kinder to its own talent. It probably doesn't help that the several other schools and companies in the area, instead of pooling resources, pull in different directions and cut up the local pie into smaller portions. California Ballet is now over forty years old and, were realities different, should be able to field its own Aurora and Prince Desiré.