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intensity in the choreography, his body arch- ing and folding as if being pulled and stretched by an invisible force. The chorus of girls who accompanied Learned stabbed at the floor in a way that reminded me of the Furies in ancient Greek plays. In fact, the ballet has a stark mythic quality like an ancient forgotten ritual. In the second, Sanguinic, variation, the usu- ally light-footed Rhodes danced with a stiff attitude as if he were not comfortable in the role. But Ricardo Graziano's passionate inter- pretation of the Phlegmatic variation was a surprise, as he usually dances the role of a debonair cavalier. Alone at first, he responded to the sad haunting melody with his whole body, arms outstretched and reaching for the unknown in desperation. Four girls echoed his movements, and when both the music and his mood lightened, they joined him in a line dance, their legs and arms folding in and out in unison to a syncopated melody that sug- gested an ancient folk dance. After Choleric (Danielle Brown) — the last variation — the entire cast returned to the stage and, like a group of giant centipedes, moved forward, legs striking, thrusting through space, while a series of high lifts punctuated the musical crescendos. It seemed to me that the dancers needed more space to stretch out the fast sophisticated, continuously moving choreography of Four Temperaments; and perhaps when this ballet is repeated, it will be performed on a larger stage. Also, with repetition, the dancers will use their musicality to go beyond the steps and understand that movements, like words in a sentence, have a way of connecting in order to provide meaning. ASHTON Sir Frederick Ashton's Sinfonietta is a delight- ful and quirky ballet in three movements that correspond to Sir Malcolm Williamson's score. The opening Toccata is a busy pas de deux, with fast footwork for two couples: Kate Honea and Alex Harrison and Nicole Padilla and Juan Gil. The costumes — striking multi-colored, striped tunics and jackets over white tights — hint at the overall happy mood of the ballet. Elegy, the second movement, was a com- plete turnaround of mood. Victoria Hulland and Ricardo Rhodes, the central couple, wore tight sparkly white jackets and tights that could have come from a catalogue of the lat- est fashions on a far away planet, because in this odd acrobatic variation, Hulland is car- ried aloft by four men. She remained calm, like a high priestess, while twisting and turn- ing and being carried and pulled like a ball of taffy as she "danced" in mid air. However, I was beginning to be annoyed, for Hulland is one of the strongest, loveliest dancers in the company, as she showed when she was finally able to put her feet on the ground and join Ricardo Rhodes in a slow sculptural pas de deux. He danced with a verve that was miss- ing earlier in the evening. The Tarantella, the final movement, brought together the entire cast — including many young dancers — in an explosive return of the first movement's hopping jumps and shoulder rolls. It took me awhile to find a way into the bal- let, but I have to admit it somehow grew on me after the first movement, as it gained in fascination, energy and high-spirited dancing. Altogether, this was a special evening of gor- geous music and impressive dancing. % Sarasota News Leader February 7, 2014 Page 102