Nevada Ballet program lives up to its name with expected, new

It was similar to a fine-dining tasting menu: a bit of this, more of that, all innovative and at once both serene and surprising.

With “The Tried and True and the New,” Nevada Ballet Theatre artistic director James Canfield wove a program that contained classical and modern dance, including the world premiere of “Still,” a pas de deux he created for Nevada Ballet.

The weekend performances visited the expected and sampled the new, to the pleasure of the small but appreciative audience.

Choreographed by the master George Balanchine, “Donizetti Variations” was an elegant journey, with Alissa Dale, Grigori Arakelyan and nine others showing their skill and strength. Here and throughout the evening, the audience was adoring.

Guest artist Matthew Rushing, of the Alvin Ailey American Dance Theater, offered “A Song for You” from “Love Songs,” choreographed by the late Ailey himself and danced to a Leon Russell tune. Rushing left no doubt that he knows just what he is doing. This showcased his lithe, almost liquid, moves, a mix of elegance and finesse with surprising vigor.

After intermission, Arakelyan and Mary La Croix danced “Still.” An intentionally dark stage with light only from the sides framed the two dancers in contemporary costume. Cellist Adam Hurst, who composed the soulful accompanying music, played live with pianist Vince Frates. Moves were fluid and graceful, and the dancers interacted well, though the fundamental question remained: Was this the “still” of “continuing” or the “still” of “quiet”? Perhaps a bit of both.

“Duet” from “Concerto Six Twenty-Two,” choreographed by Lar Lubovitch, was a pas de deux for Rushing and Clifton Brown, another Ailey American Dance Theater guest artist. Rushing and Brown seemed to portray two men who cared about each other in a supportive relationship — both literally and figuratively.

Joy seemed to be central to this piece. Rushing and Brown worked to create characters who were concerned about each other and sensitive to the other’s needs. Mozart’s “Concerto for Clarinet and Orchestra, K.622” provided a nurturing accompaniment.

The evening concluded with “At the Border,” choreographed by Matthew Neenan and performed to the piano composition of the same name by Pulitzer Prize winner John Adams.

Featuring LaCroix, Dale, Arakelyan and Jeremy Bannon-Neches with the corps de ballet in solid work, dancers raced across the stage, sometimes alone, sometimes together, in different groups, with different attitudes. Couples were together and then, not. Some fog across the back of the stage only added to the uncertainty of just what might be next.

Dancers were quick, yet still took time for the subtleties (a head toss, a momentary expression) before the pace of life captured them again.

Canfield created a program with lots to think about — perhaps a good thing as audience members contemplate next year’s subscriptions.