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The casting of LeBlanc and Zahorian as Aurora was an object lesson in what size, predilection and maturity will bring to such a challenging role; Le Blanc, petite and very much an allegro whiz with brio, danced it for sweetness and amplitude, magnificently supported by Gennadi Nedviguin, every inch the Russian fairy tale prince-gallant, rock solid supportive; Le Blanc misgauged distances several times in pas de deux but Nedviguin was right there to place her back on the vertical. Nedviguin was also chiseled clarity in his own variations, passionate, but within a classical framework; quite a performance. I suspect lack of rehearsal and perhaps the fact this was LeBlanc’s last essay as the girl awakened by a stranger’s kiss when 116.

After nearly a decade of being partnered by Nedviguin, Zahorian was cast with Gonzalo Garcia as Desire. A white wig does not become Garcia nor transform his scintillating fire into regal yearning. Though dancing with typical ease and elegance, Garcia is, nonetheless, a Siegfried, a Basilio, even a Romeo or Albrecht, but not a Desire.

Zahorian gave a delightful reading of the Beauty who must sleep her way to happiness. Giddy with anticipation with adolescentbubbling excitement, a tad flirtatious but still very well bred about it, looking at it like a adventure. She made of the Rose Adagio something of the Little Train That Could though her execution was not labored. It seemed more an essay in handling an important social situation with satisfaction and in keeping with her position as a princess. Her attitude towards the cloaked Carabosse was one of polite inquiry and curiosity, a perfect foil for the coiled malevolence of Maffre’s pent-up bile.

As for the fairies, Van Patten’s strong technique carried across the foots, but I felt her Lilac Fairy lacked inner understanding, rendering her classical, yes, but uni-dimensional, relying on her innate strength to counter the glinting, bitchy vengeance of Parrish Maynard’s Carabosse. In the evening performance, Nutnaree Pipit-Suksun’s innate warmth and radiance created well-matched opposites to the intricate working of the Maffre reading of Carabosse’s sinister prediction.

The two rendered their encounter in great style, reflecting the fullness of their training. I will remember Maffre’s talons spread against her chest, raising her eyebrows in furious disdain over the court's protestations for her omission. Pipit-Suksun’s gesture of denial, providing sleep as the anecdote to the poison was gentle, firm, like the bodhisattva of compassion.
 

When it comes to the Blue Birds and the princesses they are teaching to fly, we come again to an interesting situation. Joseph Phillips made an impression as the matinee’s winged creature, as I suspected. As Florine, Elizabeth Miner was the soubrette, the demi-charactere dancer, rather than a lyric classicist. She is superb in Morris’ Sylvia - minted wonderful truly, but as the Princess Florine she lacks a certain astringency, however strong her technique; her head carriage is worthy of Gaite Parisienne and the warm abandonment of its Waltz, not to the mythical court dancing homage to the fairy tale nuptials.

Joan Boada and Katita Waldo fared better, partnered well. Waldo’s port de bras was precise, almost throw away; in her variation, with her characteristic slight smile, she gave the impression being ready to essay flight for real the minute her stage assignment was concluded. Boada was equal to his assignment and giving the impression he could continue the beats indefinitely.

I should insert a word or two about the four princes from eastern and central Asia vying for Aurora’s hand in Act I: Uzebekistan, Ukrainian, Mongolian and Siberian nobility danced by Garrett Anderson, Hansuke Yamamoto, Jonathan Mangosing, Jaime Garcia Castilla. Their ensemble dancing and support to Aurora demonstrated remarkable unity of spirit. Fantastic in the real world, these imagined junior royalty brought a slight rawness to the scene, Aurora slated to become a diplomatic trophy. Interesting to contemplate a pink and white tutu in a yurt, the same tradition sending Chinese princesses to the borders of the empire to satisfy the needs of state.

Amongst the fairies Molly Smollen was distinctive as Serenity and Frances Chung unrelenting in her attack as Courage. Elizabeth Miner as Playfulness in the evening performance hit the right note. I frankly wish the traditional names could be restored. Smollen and Miner later danced with distinction as Diamond and Sapphire Fairies in Tomasson’s adaptation of Act III’s Pas de Trois into a Pas de Six.

Jim Sohm and Pascale Leroy made elegant monarchs and Val Caniparoli spread his genial warmth as the Master of Ceremonies, becoming suitably cringing before the wrath of both Carabosse interpreters.

It’s a handsome production, and, while the company may not be infused with the assumptions of tradition, it still renders the French fairy tale cleanly with a good, clear compensating energy.