Cast Changes in Second Harlem Program

Challenges galore awaited Dance Theatre of Harlem’s second cast on its second bill, Wednesday at Pasadena Civic Auditorium.

For Judy Tyrus, who--with Ronald Perry--danced the pas de deux in Balanchine’s “Bugaku,” it was a test of stylized containment. How to convert her tensile strength into a sober, geisha seduction? How to approximate the supple, curving softness of Allegra Kent, who originated the role and inspired its tortuous extensions?

Easy. By focusing on her expressive hauteur, which Tyrus, with an imperturbable look and almond-shaped eyes, did consummately. Nor was she a slouch when it came to the leggy hyperconvolutions or the flat-footed walk taken in tiny steps or the insinuatingly precious poses.

For those who inherited De Mille’s “Fall River Legend,” it was a test of dramatic realism. And if Cassandra Phifer fell somewhat short of the psychotic rage that signals the Accused’s patricide, at least she has put a down payment on the role. Her encounters with the Stepmother, chillingly manipulative as danced by Stephanie Dabney and with the Father, remote and remorseless as danced by James Goree, showed touching vulnerability.

For the principals in Fokine’s “Prince Igor” it was a far lesser thing, hardly more than that of a Vegas dancer. But with her cool elegance Virginia Johnson brought a regal touch even to the hootchy-kootchiness of the Princess’ dance, while Eddie Shellman gave his grinning-Tartar all to the macho maneuvers of the Chief Warrior.