In a nice dramatic touch, Mr. Mejia employs a corps in black to form walls, maze, crypt and pier, all the better to isolate Romeo and Juliet and set them apart in gauzy white. Olga Pavlova, with her lovely expressive arms and exquisite feet, plays Juliet as doomed from the outset, while Yevgeni Anfinogenov, as Romeo, offers just the right touches of impetuosity and desperation.

Metropolitan Classical Ballet more than held its own in the second part of the program. As the Black Swan in Swan Lake, Ms. Pavlova looked suitably conniving, and danced with the supreme confidence that suited her character. Her partner, Alexei Tyukov (Colorado Ballet), could not match her verve.

However, there was verve in abundance from Shea Johnson in Diane and Acteon. Looking very much the Greek god in shorts and laced boots, he wowed the crowd with a daring manner and flashy leaps. His partner, the silken Maiko Abe, was a bit timid at first, but grew increasingly secure.

Its impossible to give credit to all the divertissements (eight in all), but the best included the moody Spartacus (Marianna Ryzhkina, principal dancer with the Bolshoi Ballet, and Mr. Tyukov); the high-flying Spring Waters (Marina Goshko and Mr. Anfinogenov), the crystalline Grand pas Classique and intriguing White Fog (Olga Voloboueva and Howard Quintero, Royal Ballet of Flanders), and Don Quixote.

While Ms. Ryzhkina may not be the sauciest Katri, she bourrées at the speed of light and can whip off a mean triple fouetté or two (or a dozen.)

Margaret Putnam is a Richardson writer who covers dance.

© Copyright 2008 The Dallas Morning News Co.

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