By Kathy Valin
Enquirer contributor

There were lots of stars. All glittered, but some shone more brightly than others Saturday night when the Gala of International Ballet Stars returned to the Aronoff Center.

The cast of 18 dazzlers was drawn from international ballet companies. The dancers performed in a program of short choreographed pieces, made up mostly of pas de deux, the French phrase that in the ballet world means "a dance for two."

Blond standout Sarah Lamb and partner Raul Salamanca played the mythic Greek figures Diana and Acteon in their version of Agrippina Vagonova's pas de deux. Lamb was dressed in a revealing off-the-shoulder red tunic, and Salamanca was bare-chested. When he twirled her on pointe in multiple pirouettes, with one leg held in passer (pointed at the knee), the audience cheered.

The couple returned in David Dawson's "The Grey Area." Lamb, again on pointe with bare legs and a filmy, strappy top, had the technique to hold side leg extensions as high as her breathtaking straight-legged battements, or kicks. Salamanca alternately drew her along or pushed her, always guiding her. The two showed abandon with torso ripples, and he was able to magically anticipate her falls into his arms. It seemed that they were a modern couple, drawn together and apart in Dawson's choreography.

A torrid Kellye A. Saunders and Donald Williams, he in pants, she in a halter dress, were Broadway jazzy in Michael Smuin's "True Love," she as the eager young thing, he as a man with his mind on another woman.

Prince Credell's spiritual solo, an excerpt from "Road" by Alonzo King to Johann Sebastian Bach, showed every fiber of his muscular body in motion. Credell moved with total control, riffing off the Baroque music with the tension of dormant power.

As for humor, in Harrison McEldowney's "Call It Off," Olivia Clark and Jimmy Orrante alternatively nitpicked in rambling spoken text about each other, but ended up dancing together anyhow in this funny crowd pleaser.

Best in show went to Bridget Breiner and Christopher Roman, in William Forsythe's "Herman Schmerman." Roman's total commitment to the quirky, increasingly loose-limbed choreography drew cheers.

The rousing classic "Don Quixote Pas de Deux" by Marius Petipa and Alexander Gorsky was a thrilling roller-coaster ride.

Agnes Oaks completed a strong series of 30 fouette turns (one leg whipping her around). In motionless balances, she was peerless. Thomas Edur was a revelation as he entered for his solo variation in giant scissor-legged jumps.

The two brought the enthusiastic crowd to its feet, and there they stayed as the whole cast reassembled for multiple bows.

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