Dance Review : Laguna Ballet Group Uses Guest Talent to Advantage

Molly Lynch took over the artistic reins of Laguna Beach-based Ballet Pacifica in July, and the results seen in a program Saturday at the Moulton Theatre in Laguna Beach are cause for guarded optimism.

To be sure, it is too early to expect radical changes and developments. Lynch must still rely on many of the same dancers, with their wide range of talents and security in training, and some unchallenging repertory inherited from founding director Lila Zali.

At this point, it is not clear whether Lynch’s talents lie more in administration or in creativity. Her “Objects,” a hyperkinetic abstract ballet to Bach’s “Brandenburg” Concerto No. 4, receiving its first performance, looked under-rehearsed, indifferently musical and, in its abrupt shifts in direction and position, more than the five dancers could handle.

But Lynch may have an eye for spotting other talented choreographers. She brought in James Jones, whose “Rhapsody in Blue,” also danced for the first time, proved the hit of the evening.

“Rhapsody” responds intelligently, inventively to the lyric and jazz impulses of Gershwin’s wonderful score. It provided a vehicle for some lovely, bright, secure and insouciant dancing by soloist Sylvia Rico. But not least of Jones’ achievements was making all seven dancers look as if they were part of the same company. Nothing else all evening had accomplished that.

Those who have followed the ups and downs of local dance know Jones as the artistic director of the erstwhile South Coast Ballet, which folded up its tent in 1987 after 6 years of slugging it out.

(Jones went on to pursue his backup career of teaching ballet at UC Irvine. The name of his company was passed on to a new troupe that--in its turn--has been renamed and virtually unheard of since.)

But woe to those who didn’t know the story. No one thought to provide a bio of Jones or either of the other two choreographers. For that matter, there were no notes on the ballets; no identification of the music (all taped), other than the ballet titles; no credits for set designer Don Watson or lighting designer Stephen Shaeffer.

At least the indifference was spread widely. Pictures in the program identified repertory, but not dancers. Costumes, however, were credited to Jennifer Blue and Jim Nussbaum, and Zali. Let’s say the company has a way to go in terms of professionalism.

Also on the program: Zali’s “Fiesta Pas de Deux” (music by Adam), danced effortfully by Paula Hoffner and Randy Barnett, and “Rococo Variations,” (Tchaikovsky), a threadbare group piece.

Still, in offering new and challenging works, in making more demands on the dancers and the company’s audience, in casting its net wide enough to bring in outside choreographers, the Lynch era looks like it’s off to a good start.