"Don Quixote" has gone through numerous revisions since its Imperial Russian Ballet premiere more than 100 years ago. In traditional productions, Cervantes' tale of the would-be knight serves as a mere framework for bravura dancing in the Spanish-Russian style. In the new version choreographed for Columbus' BalletMet by artistic associate Stanton Welch, the focus is on the narrative.

Welch, the gifted Australian who was recently named artistic director of Houston Ballet, retains Petipa's famous showpieces in the delightful production that premiered last week. But he blends classical techniques with contemporary touches. The principal characters not only perform pirouettes and fouettes, but they also roll on the floor and execute other nontraditional partnering moves. The gypsies, too, drop classical restraint as they exude sex appeal. The choreographer's eclectic movement vocabulary tells the humorous story with economy and inventiveness. Characters are clearly defined. Phrases unfold on the melodious music of Leon Minkus. The action progresses at a quick pace.

The first work Welch has created for BalletMet since he joined the company last fall and his first full-length production in North America, "Don Quixote" shows the imagination and skill that have won the 33-year-old choreographer commissions from American Ballet Theatre, San Francisco Ballet and other major companies. His creativity does not demand a huge corps or extravagant production elements. He has the resourcefulness to mount an exciting ballet for a small company with a limited budget.

On opening night, the cast of dancers from the 27-member company, children from the company school and guest artists from the community performed with spirited teamwork and an exuberant sense of fun. The Columbus Symphony Orchestra, conducted by Gary Sheldon, provided energetic accompaniment. Colorful costumes by Holly Hynes, minimal scenery by Dan Gray and effective lighting by David Grill evoked a sunny Spanish atmosphere.

Welch sets up the story with a prologue for an amateur theater group. The elderly Don Quixote (played with appropriate creakiness by veteran actor Phillip Wilson) is too weak to grasp his sword in the play the troupe is rehearsing. Taking to his bed, the old don dreams of his youth and his meeting with a beautiful young queen. The dream characters (Jimmy Orrante as the dashing young Quixote and Carrie West as the lovely queen) swiftly play out their story of love and betrayal. They reappear in the first act when the old don, searching for his beloved Dulcinea, is reminded of her by the feisty village girl Kitri (diminutive dynamo Hiromi Ushino). Although she loves the penniless barber Basilio (handsome principal dancer Daryl Brandwood), her father wants to marry her off to the foppish son of a wealthy eccentric.

The village characters are brought to life with a fine flair for physical comedy and lyrical romance. The dramatic death of Dulcinea leads to a magical divertissement for an ensemble of angels who lift the ethereal queen to a starry heaven. The crowd scenes are enlivened with age-appropriate choreography for children. The dancing is dramatized with the imaginative manipulation of swords, sails, ruffled skirts, Spanish fans, castanets, windmill blades and shroudlike fabric. The celebratory pas de deux is presented with brio. The freshness and immediacy of Welch's style is reminiscent of the lighthearted story ballets choreographed by Dennis Nahat for the former Cleveland San Jose Ballet. Ironically, Nahat was planning his version of "Don Quixote" when the company collapsed on the eve of its 25th anniversary. If Welch's interpretation, the capstone of BalletMet's 25th anniversary season, were to be presented at Playhouse Square, it would delight the Cleveland audience, demonstrate the validity of low-budget ballet and introduce the community to the lively ensemble that now ranks as the best classical dance company in Ohio.

© 2003 The Cleveland Plain Dealer. Used with permission.