Ballet Theatre

Ballet Theatre of Maryland's artistic director Dianna Cuatto - fresh from last Saturday's memorial tribute to Edward Stewart that included her restaging of Stewart's Sapphire Romance - now turns her attention to the dedication ceremony for the BTM's annex Saturday from noon until 5 p.m. Free and open to the public, the dedication will include mini-classes in jazz, ballet and flamenco, performances by BTM dancers, class registration, face painting for...

A ballet company that premieres two original works in one night and includes the "Black Swan Pas de Deux" of Tchaikovsky is offering an adventurous program as it is. Throw in Bizet's "Carmen" in the second half and it becomes an ambitious and exciting evening.But Ballet Theatre of Annapolis pulled it off last weekend at Maryland Hall for the Creative Arts in Annapolis.The new works were Anton Wilson's "Seep," an abstract piece based on Emily Dickinson's poem "Almost" and danced to the music of contemporary composer Phillip Glass, and Edward Stewart's traditional "The Crowned Jewel," a moving tribute to his late mother set to the music of French romantic composer Gabriel Pierne.

Ballet Theatre of Maryland artistic director Dianna Cuatto offered an eclectic program of new works last weekend at Maryland Hall for the Creative Arts. It included a first attempt at choreography by dancer Bryan Skates, a new piece by Cuatto - plus another major work of hers presented only once before in Richmond, Va. - and a recent work by award-winning choreographer Nolan T'Sani. Set to Morton Gould's "American Ballads," Cuatto's new neoclassical ballet was danced in the style of George Balanchine.

The Ballet Theatre of Maryland joined the Annapolis Symphony Orchestra, the Naval Academy's Glee Club and two college choruses to cap the season's Distinguished Artists Series at the academy with a spectacular performance of Carl Orff's Carmina Burana. The large stage at the academy's Alumni Hall was brimming last weekend with an array of talent. The musicians produced a wondrous sound, and the ballet dancers added a visual dimension. The resulting synergy reflected well on the collaborative efforts of John Barry Talley, the academy's music department chairman, and Edward Stewart, BTM artistic director and choreographer.

Artistic director Dianna Cuatto's first season with Ballet Theatre of Maryland closes this weekend with two performances of Nathaniel Hawthorne's The Scarlet Letter. Cuatto caps an exciting season of contemporary, classic and neoclassic choreography with a flesh-and-blood heroine from an American literary classic, far removed from the usual formulaic, Cinderella-like ballet subject. Hawthorne's mid-19th- century novel tells the story of Hester Prynne, perhaps the first feminist heroine.

Marking a crucial turning point, Ballet Theatre of Maryland last weekend offered three performances of The Nutcracker - a ballet choreographed locally by its late founder Edward Stewart, who danced a final cameo as Herr Drosselmeyer last December. Stewart ensured the survival of his Nutcracker by appointing Leslie Bradley, who has an 18-year association as soloist and principal dancer with the company, to stage the work, adding to a legacy that includes a talented corps of dancers. Judging by the quality of the performance Saturday evening at Maryland Hall for the Creative Arts, I'd say Stewart's trust in Bradley was not misplaced.

Annapolis-based Ballet Theatre of Maryland opened its 24th season during the weekend with the debut of its artistic director Dianna Cuatto. Ballet Theatre of Maryland dancers and Cuatto are off to a noteworthy start with spectacular choreography beautifully executed by a well-integrated, tight-knit troupe of dancers. A logical successor to founder and artistic director Edward Stewart, Cuatto shares his respect for dancers, exhibiting a similar ability to showcase their strengths while creating lovely scenes.

Ballet Theatre of Maryland in the 2002-2003 season will honor the life of Edward Stewart, the BTM founding artistic director. Stewart, who died of lung cancer July 30, left a legacy of dedication and discipline for the dancers who begin a new season without him. A number of guest choreographers will offer their artistic perspectives in new productions. The company will not select a full-time artistic director until at least the end of the season. The season begins with a program designed by choreographer Peter Anastos, who arrived Sept.

It could have been little more than a well-danced children's story, but with inspired choreography, brilliant stage design and the addition of live music, the Ballet Theatre of Maryland's recent performance of The Nutcracker was a triumph. In the company's first ballet danced to live music, the Baltimore Chamber Orchestra added excitement and elegance to the Dec. 15 performance at Maryland Hall for the Creative Arts. After only two rehearsals, guest conductor Charles Rosekrans, music director of the West Chester Hudson Opera, and the orchestra established genuine rapport with the dancers.

After the death last year of its founder and artistic director, Edward D. Stewart, the Ballet Theatre of Maryland experienced a rudderless year marked by a succession of guest choreographers and programs that lacked a coherent vision. Now Ballet Theatre of Maryland is poised to leap forward under the direction of Dianna Cuatto, who came here from the Richmond Ballet, where she was ballet mistress for six years. While the new season will reflect her artistic vision, Cuatto's pragmatism and networking skills are also much in evidence.