Jewels.

MIAMI CITY BALLET JACKIE GLEASON THEATER, MIAMI BEACH JANUARY 24-26, 1997 REVIEWED BY CYNTHIA ROSES

Miami City Ballet took Balanchine's Jewels and made them its own on opening night at the Jackie Gleason Theater. Unafraid and undaunted by the ballet's history, the company seemed more interested in creating its own--and it did.

And perhaps, with Iliana Lopez and Franklin Gamero, Miami City Ballet has achieved the success for "Diamonds" that Balanchine had originally wished for it, surpassing even the legendary partnership of Suzanne Farrell and Peter Martins. Gamero, partnering Lopez, symbolized perfectly Balanchine's dictum that man is to serve. By attending to her every need and focusing solely on highlighting her, his own talent was reflected. Lopez attacked the difficult choreography with a majestic dignity that carved a heart into "Diamonds."

"Rubies" was pure fun. The company commanded the stage, tossing and toying with its movements. Mabel Modrono and Marin Boieru, in the pas de deux, were sensual, sassy, and snappy. Sally Ann Isaacks was brilliant. She moved like a spider, trapping her five partners in a web of limbs as she reveled in the elegant decadence of the movement.

"Emeralds" wafted through the air with the soft, graceful allure of a gentle perfume. Marife Gimenez, performing the solo originated by Violette Verdy, danced as if she were about to burst with a delicious secret. Her ports de bras were pure charm and playfulness.

The costumes, re-created by Haydee Morales, shimmered, complementing the mood and style of each jewel. A new scenic design by Tony Walton consisted of a backdrop containing a fiber-optic galaxy of light, matching colors with each jewel. It was simple but highly effective and wove both dancers and costumes in an interplay of color. Chandeliers created by the lights appeared magically during the polonaise of "Diamonds," creating an audience-pleasing effect.

The confidence of the dancers was supported by Akira Endo, Miami City Ballet's principal conductor. Endo is a dancer's conductor, knowing the score so well that he can keep his eye on the stage at all times. He is to be commended for his part in allowing the dancers to feel that the music is always there with them.

Another major factor in the company's self-reliance stems from the artistic director, Edward Villella. He is a craftsman at building a company and creating an organization of support both financial and artistic, for the dancers. The true jewels of Miami City Ballet were on display this evening in the many facets of the organization that make this company glitter.