THE VIRGINIAN-PILOT 
              Copyright (c) 1995, Landmark Communications, Inc.

DATE: Sunday, September 24, 1995             TAG: 9509240077
SECTION: LOCAL                    PAGE: B4   EDITION: FINAL 
TYPE: Dance review
SOURCE: BY SUE SMALLWOOD, STAFF WRITER 
                                             LENGTH: Short :   46 lines

INDIANAPOLIS BALLET IS ON ITS TOES, STRONGLY, WITH A RANGE OF STYLES

In its first local performance Saturday, the Indianapolis Ballet Theatre presented a program of solid dance that showcased the company's broad stylistic range.

Though a dance interpretation of the opera ``Carmen'' was the featured selection, the evening's entire first hour was devoted to a pastiche of works.

The program opener, ``Pas De Quatre,'' with choreography after Jules Perrot set to music by Cesare Pugni, was the sort of frothy divertissement that little girls' dreams are made of. Four ballerinas in white gossamer gowns moved daintily, with fluttering footwork - light bourees, entrechats and chaine turns - the focus.

``The Playing Field,'' an abstract work with choreography by Toni Pimble, offered stark contrast. Dressed in unitards, three men and one woman, the outstanding Sara Viale, moved almost geometrically, with angular port de bras and sinewy undulations. Viale showed remarkable flexibility with endless high-altitude extensions, her legs often unfolding from a kneel.

The pas de deux from ``A Thousand and One Nights,'' choreographed by the company's artistic director, former Kirov Ballet principal Eldar Aliev, was dramatic and showy, packed with exciting lifts and turns. Harald Uwe Kern as Shakhriar achieved glorious elevation in his jumps.

``Carnival In Venice,'' with choreography after Marius Petipa, was a return to grand classical style. Courtly arabesques from five ballerinas, steadied by partners, culminated with well-controlled turns from Grant M. Scruggs III and firm pirouettes from Karen L. Scalzitti, the featured couple.

After such a satisfying prelude, ``Carmen'' seemed almost anti-climactic. Though the set design and most of the costumes (sadly, not Carmen's) were striking, the dancing lacked fire.

Tatiana Pali performed credibly, but her girlish Carmen lacked the burning sensuality of a Spanish seductress. More exciting was the stylish choreography given to other characters, like the dance of the tarty tavern women set to men's clapping of hands. by CNB