Cincinnati Ballet's 2001-02 season follows the same formula that the company has used for many years: Nutcracker, three full-lengths and two mixed repertory productions.

        But this year there's a twist.

        “Most of the work is new to the community. It'll look a little more unusual,” says Victoria Morgan, Cincinnati Ballet artistic director.

THE SEASON

Oct. 19-21: Don Quixote, Kirk Peterson choreographer    Feb. 1-2: “7x5,” Bart Cook; “Beyond Innocence” and “Out-o-Sense,” Victoria Morgan and Nicholas Muni    March 8-10: Dracula, David Nixon; performed by BalletMet, Columbus    April 12-13: “Beyond,” Adam Hogland; “Cry,” Alvin Ailey (guest soloist Nasha Thomas Schmitt); Pas de deux TBA, Daniel Simmons; “Union Fraternal,” Robert Moses; “Stravinsky Violin Concerto,” George Balanchine    May 10-12: A Thousand and One Nights, Eldar Aliev

        Classical ballet fans will get their tutu fix with Don Quixote. George Balanchine's “Stravinsky Violin Concerto” will take care of the neo-classic urge, and there are contemporary ballets for nearly every taste.

        “I think it's important we have a certain amount of contemporary, hot, new choreography — it's part of our vision for the company. But we need to challenge the dancers who train in classical technique. Don Quixote fills that bill,” Ms. Morgan says.

        Don Quixote is a full-length ballet originally choreographed by Marius Petipa in 1869 to the music of Leon Minkus. Loosely based on Cervantes' novel of the same name, it was first performed in Moscow by the Bolshoi Ballet.

        It features Spanish-style dances, and the last-act virtuosic pas de deux — well-known in ballet circles — is one reason the ballet remains popular. Ms. Morgan says choreographer Kirk Peterson will give it a classical treatment with flair.

        The other ballets that will draw from classical roots are an all-new Nutcracker, with choreography by Val Caniparoli, and former Kirov Ballet star Eldar Aliev's A Thousand and One Nights. Mr. Caniparoli is one of Ms. Morgan's favorite choreographers and has done a number of works here.

        “A Thousand and One Nights is really powerhouse kind of stuff,” Ms. Morgan says. “It's very stylized with an Arabian style to it. It's very Russian and very bold.”

        Part of the “new” will be Ms. Morgan's “Out-o-Sense,” a collaboration with Cincinnati Opera director Nicholas Muni. Set to a medley of Cole Porter tunes, it will continue themes originating in her “Beyond Innocence” of three seasons ago. Both works will appear on the same program.

        Ms. Morgan is taking a chance with young unknown Adam Hogland and his work “Beyond.”

        “It's not on pointe and ventures into new space. I saw it at Juilliard (School, New York), and it was beautiful in terms of the music (by Ralph Vaughan Williams) and the provocative ideas behind it,” Ms. Morgan says.

        Another risk is a swap with BalletMet Columbus. The BalletMet company will perform its full-length Dracula here while Cincinnati Ballet dancers take Peter Pan to Columbus.

        “It's an interesting opportunity for our audiences to see other dancers, and it gives me more time to rehearse Cincinnati dancers on something else,” Ms. Morgan explains.

        Other highlights: guest appearance by Alvin Ailey principal Nasha Thomas Schmitt in Mr. Ailey's popular “Cry,” originally made famous by his muse Judith Jamison; a new pas de deux by Otto M. Budig Academy director Daniel Simmons; “Union Fraternal” by Robert Moses, earthy dances to Cuban music of John Santos; and “7x5”, Bart Cook's nod to his Balanchine past.
       

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