Fine-Looking State Street Ballet Thrives in Too-Shallow Soil

There is little doubt that the fine-looking, Santa Barbara-based State Street Ballet, under Rodney Gustafson’s artistic direction, is thriving. What they lacked, however, in their “Not So Strictly Ballroom” program at Cal State Northridge on Sunday, was edge, variety and depth. True, the four-piece hommage to the music of the 1940s entertained, but all of the undulating arms, saucy smiles and repetitive footwork--in spite of being crisply executed with a modicum of flair--seem to vanish into thin air. The black-tie costumes also disappointed, especially the men’s tuxes, which buried the line of the dancers’ bodies.

Victoria Simon’s “Salute to Sinatra,” an eight-song medley, proved tepid, not torrid, the dancers tossing off turns and leaps with detached mechanization. The exceptions: Sayat Asatryan, with Fred Astaire elegance, adeptly partnering willowy Laura Rutledge in “That Old Black Magic”; a regal Olga Checkacheva and a very hot Alberto Colon (call him the Javier Bardem of ballet), brought much-needed passion to “Where Are You?”

Robert Sund’s “B.A.N.D.,” a mix of Ellington, the Andrews Sisters and Nat King Cole, further authenticated Colon’s prowess; in his “Nature Boy” solo he ripped through bravura jumps and pliant landings. Choreographer John Henry’s “Embraceable You” paired Jennifer Batbouta and Gary McKenzie in an acrobatic pas de deux, with daring floor splits and faux fighting that helped elevate this from the mundane.

Finally, Heinz Poll’s “Eight by Benny Goodman” blended ballroom with ballet, but displayed little invention and officious, hollow maneuverings, typifying, alas, the evening’s proceedings.