ASHTON’S ‘LES RENDEZVOUS’ BY ABT

With its mix of elegant classicism and sly suggestions of character, Frederick Ashton’s frothy “Les Rendezvous” was tailor-made for British dancers.

Jetes and handshakes in the same movement phrase, individual virtuosity and social interaction deftly stitched into one unbroken sequence--how easy it has been for American Ballet Theatre to distort the essential stylistic balance.

The performance Thursday in Shrine Auditorium looked typically overeager in some sections: the male corps’ Spanish caprice, for instance. However, Deirdre Carberry (in the trio) and a few colleagues managed to shine without overdoing anything or forcing themselves on the audience.

In the leading roles, a buoyant Johan Renvall seemed marginally off form in the partnering challenges and the finish to a solo, but Marianna Tcherkassky danced with lustrous charm and effortless mastery of Ashton’s playful, serpentine port de bras .

New casting in “The Leaves Are Fading” found Kevin McKenzie highly secure and sympathetic opposite a very accomplished, very vacant Amanda McKerrow. Her flow of movement and delicacy of phrasing were often exquisite, but Antony Tudor ballets don’t come alive without thinking dancers . In this regard, McKerrow might as well have been dancing a brainless Gerald Arpino adagio.

In “Stravinsky Violin Concerto,” Martine van Hamel strongly danced the role created for Karin von Aroldingen. Her forceful yet smooth attack and celebrated pliancy--the coiling limbs and arching spine--became especially effective in the demanding first duet. Ricardo Bustamante partnered her well, and looked far more at ease than he had the previous week.

Led by Charles Barker in “Les Rendezvous” and Jack Everly on the rest of the program, the orchestra again sounded first rate.