Invigorating Diaghilev Program From Joffrey

It’s a truism to say that Diaghilev revolutionized and reformed ballet in the early decades of the century, giving the art form back its seriousness while extending its possibilities by incorporating radically new choreographic, musical and theatrical elements.

As danced Thursday at the Dorothy Chandler Pavilion, however, familiar works by Massine, Nijinsky and Nijinska proved anything but museum pieces.

Vivid and arresting remained the daring theatrical innovations of Massine’s portrayal of show-biz folk trying to draw in an audience (“Parade”); Nijinsky’s self-imposed restriction of movement vocabulary to a tense two-dimensional plastique (“L’Apres-midi d’un Faune”), and Nijinska’s invigoration of tradition by drawing on folk rituals (“Les Noces”). None of these major choreographic trends have yet to be exhausted.

Dancing the role of the Chinese Conjurer for the first time in “Parade,” Joseph Schnell exhibited sweetness of manner and traced a characterization more lyric than fearful. He proved rounded in his big, if smeared jumps and was somewhat insecure in balances. Still, the outlines are there.

The otherwise familiar casting included Jodie Gates, indomitable as the American Girl, and Deborah Dawn and Tom Mossbrucker, lithe and knowing as the Acrobats. Still, it’s hard for anyone to upstage Picasso’s charming horse.

Tyler Walters and Charlene Gehm have been dancing the primary roles of the Faune and the Leader of the Nymphs, respectively, for a while now in Nijinsky’s “Faune,” but they maintained freshness in showing the dynamics of their interplay. He was avid of animal spirit and sensual delectation; she, troubled by uncharacteristic balance problems, subtle in suggesting inner turmoil and surrender.

John Miner conducted both works with sensitivity and nuance.

In “Les Noces,” danced to a prerecorded version in English, Julie Janus and Daniel Baudendistel made a properly pained, nervous and serious bride and groom endearing in their first stiff, tentative embraces.

But, of course, it was the Joffrey corps that dominated with the alternating compacted brooding and explosive folk-like bounds. Irina Nijinska, daughter of the choreographer, who helped staged the production for the Joffrey, joined the troupe for curtain calls.