Helgi Tommassons GISELLE has something for everyone. On the primary list of time-honored Classical Ballets - which includes Tchaikovskys SWAN LAKE and SLEEPING BEAUTY - GISELLE is one of those acid-test works (the 19th Century "story ballets") that constantly contribute to and measure the status of world class dance companies. The piece is packed with opportunity. Written by Adolphe Adam and premiering at the Paris Opéra Ballet in 1841, the music is perfectly wedded to a Once-upon-a-time tale where royalty, nobility, and gentry are all subject to religious bugaboos and inherited truth-legends involving fatal intercourse with the Un-Dead or, at least, the Creatures of the Night. In this Slavic village, that would be a bed of dead almost-brides bent on more than suing for breech of promise. This brood of perpetual man-haters, the "Wilis", thirsts for the blood of any guy who steps on their train. Its enough to give everyone the willies.

As with THE NUTCRACKER, the ensemble of GISELLE is comprised of all ages, thus allowing every company dancer an opportunity in the spotlight. The overall level of excellence among SF Ballets strata of dancers allows for multiple castings of every production, some of the principals dancing more than one performance. How to mix and match the teams seems to start with one central question, "Just how tall is the Leading Lady?"

Last Tuesday night, Cast #3 featured the diminutive Russian-born Maria Kochetkova. Having just joined the company, her young fans sent a wave of welcoming applause as she stepped into her SF Ballet debut of the title role. Demonstrating lovely technical chops as the doomed "Giselle", Kochetkova was intermittently rewarded with bouquets of vocal ecstasy from the same. "Giselle" is a diva ballerina role that time-tested artists such as Margot Fonteyn and Alicia Alonso strove to maintain until the final bell. Ever willing to nurture their gifts and then surmount Petipas complex choreography, such women find consummate joy when given the opportunity to dazzle the troops. No doubt, Ms. Kochetkova will have more chances to grow into her character.

Others are already committed to the designated "Prince Albrecht" - Cuban-born Joan Boada. Initially trained at the National Ballet School of Cuba and a member of its Ballet Nacional, the handsome star joined SF Ballet in 1999. Boada is much acclaimed in other of Tomassons productions including "Basilio" (Don Quixote), "Romeo", "The Bluebird" (Sleeping Beauty), and "The Nutcracker Prince". As the two-timing lover/betrayer playboy from the castle on the hill, Joans somewhat punkish and fiery sexuality is a most-inviting temptation for the doll-like Kochetkova. Boada continues to bolt his way into ever-advancing artistry and, with the role of "Albrecht", conveys an aristocratic nature and authentic sense of redemption.

Pascal Molat is arguably the most versatile of San Francisco Ballets principal male dancers. He is a charming boyfriend in BLUE ROSE, a high-stepping sailor in FANCY FREE, a potent robot in EDEN/EDEN, a malevolent demon for FIREBIRD, and the perfect "Sancho Panza" for DON QUICHOTTE. As "Hilarion", the unflinching village gamekeeper, we agree with Giselles mother that he will prove a worthy and faithful husband to her frail daughter. Too bad Giselle cant see past the polished manicure of "Prince Albrecht". Her frank disdain for the grittier Hilarion not only fuels our sympathies for him, but ignites apprehension come his entrapment by the Wilis - who dance the poor guy to exhaustion and then force his chiseled features over the edge of a cliff. What a waste! In designer hiking boots and the sexiest leather shirt this town has ever seen (fashions by Mikael Melbye) - over the rocks or on the rocks - Pascal Molats got the stuff that dreams are made of.

In the role of "Myrtha", Queen of the Wilis, Katita Waldos singularly fluid style and exacting nature have found an ideal match. In this convent of unfulfilled, vengeance-driven wannabe brides Myrtha is the Mother Superior. No matter the crosses on the graves, come sunset she readies her jilted brides for the evenings dance macabre. Tonight, they will admit the latest postulant - Giselle, the naïve seamstress from the nearby glen - the one who flouted her mothers wishes, flounced herself in front of another smooth-talking patrician from Snob Hill, and then drops dead from brain-fry and an exploding heart upon seeing her blonde rivals triple-threat engagement ring. Its a bit of a stretch for both the viewer and the corps de ballet. But the daunting precision of this particularly haunting female sorority will hover above every future resuscitation of Tomassons GISELLE. Theyre a tough act to follow.

Source: San Francisco Sentinel