Dance Reviews : New Principals in ABT ‘Don Quixote’

With three of the four new leads in American Ballet Theatre’s “Don Quixote” Wednesday at the Performing Arts Center picked from the rank of soloist, you couldn’t help wondering whether the company regards Orange County as the provinces. Or the land of opportunity.

Unfortunately, there were more reasons to admire effort than accomplishment in several of these dancers seen in Segerstrom Hall.

Robert Wallace, the new Basil, evidenced a petulant and immature characterization, that is, when he didn’t tend simply to become a dramatic cipher.

Best in his solo turns, he also managed some impressive, risk-taking if momentum-generated elevation (his jumps straight off the floor lacked impact and clarity). But he tended to sacrifice form, smear his landings and finish with rigid arm placement. He partnered effortfully.

As the new Espada, Jeremy Collins displayed an attitude of rigid hauteur, alas, little justified by his spongy dancing, sluggish turns and ragged finishes. At times, he even looked distracted.

Christina Fagundes, the new Mercedes, looked more secure than the two men, although in her stint as a Gypsy brought out more graciousness and poise than one would have thought ideal for that character.

Cheryl Yeager, the new Kitri, at least is a principal dancer. She brought a level of energy and excitement to the production not witnessed the previous night.

She danced with tight, clear, compact vivacity, unfortunately not much altered from moment to moment or from scene to scene, except for such moments as the stabbing pointe- work and kicks toward the back of the head at the end of Act I. But her speedy dancing in the dream sequence looked doll-like and brittle, and she had some trouble ending the fouette sequence in the final scene.

Her acting ranged from bratty-girl mugging to kittenish charm, but she did register sweet amusement at the attention received from Don Quixote (again mimed by Mark Grothman).

Among the dancers taking over secondary roles, Ashley Tuttle danced Cupid with leggy freedom and extension; Christine Dunham, who was Mercedes on Tuesday, brought lyric refinement to the Dryad Queen.