Rare Revisions

A practical man, George Balanchine was not in the habit of revising his works. Had he set out to produce "masterpieces," he once asked rhetorically, "How would I ever finish it?" Yet he did revise some works, including "Tschaikovsky Suite No. 3" and "Harlequinade," both performed this weekend. They invite a peek into how his mind changed during his career.

"Tschaikovsky Suite No. 3," performed Saturday, originally featured only the popular fourth section, known simply as "Themes and Variations." Produced in 1947, this courtly display of classical vocabulary regales the audience with all the bright steps of imperial ballet, describing elaborate fugue patterns and building to the momentous finale in the closing "Polacca," or Polish dance.

In this performance, the exuberance of the original trumpeted loud and clear in precise ensemble work. The corps did not resemble at all the rushed, haphazard group that sometimes performs Balanchine's classical repertory. Instead, deliciously in sync, they pivoted on the stately grace of Miranda Weese.

Although she was nervously excited at first, Ms. Weese gained a limber command in her traveling pirouettes. As a Czarina, she seems especially poised and natural. Charles Askegard, elegant and grand, partnered her commendably. To the slurring melodies of the violin, they maintained a smooth composure as she boldly swung an extended leg on either side of him.

Horns announced the "Polacca," when the conquered Polish province pays tribute to the empire in sweeping tour jete*. The stage fills in a closing processional tableau, and the dancers maintain energy until the very last punctuating half-measure of the orchestra (what Broadway musicals call "buttons").

This work by itself would be enough. But in 1970 Balanchine restaged it to include the first three sections of Tchaikovsky's "Suite No. 3 in G major." He gave each section a dance and a mood, dramatically redefining the ballet. He dropped a scrim over the proceedings, and replaced the classical tutus with long, satin dresses.

"Elegie," the romantic first section, even gets rid of pointe shoes in favor of bare feet. Stephen Hanna kneels as a defeated hero, tortured by the beauty of seven sylph-like creatures in salmon gowns. They glide in lyrical accord, duplicate versions of a single girl. Carla Korbes, heading the ensemble, moves with authority and delicacy. Together the ensemble points in his direction, but steps beyond him instead.

The pace quickens in "Valse Melancolique," a ballroom waltz. James Fayette spins Rachel Rutherford in an urgent promenade. "Scherzo" follows, with Ashley Bouder and Tom Gold taking the lead. Ms. Bouder appears almost vaporous in her white scarf as she executes multiple fouettes to an incessant snare drum. Mr. Gold matches her athleticism with a grand rond de jambe of his own.

By choreographing these three additional sections, Balanchine transformed his work from a divertissement to a drama. In "Harlequinade" he did the opposite: He expanded a traditional story to include a second act of episodes, each embellishing a favorite character type. The work recollects his St. Petersburg childhood one stock character at a time: the sadsack whiteface Pierrot, his wife Pierrette, and the dappled Harlequin himself. We find multiple versions of preadolescent Pierrots, Pierretes, and Harlequins.

The curtain rises on Rouben Ter-Arutunian's lavish set, which features an additional proscenium. At the center stands the House of Cassandre, with a mansard-style roof and eyebrow windows. His servant Pierrot, played by Mr. Gold, awakens and gives a wide-sleeved yawn. He accidentally locks himself out. Pierrette comes down to give him the key, but teases him first by breezily stroking the air with jaunty kicks.

Mr. Gold retains throughout the work a clownish charm, but shows enough restraint in his pantomime to keep his character likable. In a repeat performance from last year, Megan Fairchild embraces her role as Pierrette under her stylish dunce cap. Her large brown eyes entrance, and the chimes seem to come from her lithe movements rather than the orchestra.

Renowned for his acrobatic wit, Harlequin tests the demi-caractere prowess of its male dancer. Balanchine originally choreographed the role on Edward Villella, whose astounding brise voles and Hollywood good looks set the standard. Joaquin De Luz, replacing Benjamin Millepied and moving up a notch from the role of Pierrot last year, delivers a performance with convincing flair. He can be both love-struck and vaunting in turn.

He serenades Colombine with the help of the Scaramouches, musicians in black who enter with period instruments in their hands. Led by the Saskia Beskow, they shuffle back and forth to a gavotte and thoughtfully mime a tremolo. Yvonne Borree tackles the role of Columbine with the openheartedness of a true parvenue. She dances while giving a frenzy of kisses to not only Harlequin but also the audience. In their duet, the two lovers intertwine their arms and begin necking, before they are caught by her father.

Cassandre fulfills the time-honored role of the greedy father who ransoms his daughter's virtue to the highest bidder. He sends out hired men, Les Sbires, or caped crusaders thwacking leather thongs. When things are looking dire, and the Harlequin is a hunted man, Teresa Reichlin appears as the enchantress La Bonne Fee, light as a feather and hovering en pointe. In a long, white dress, she moves like an elongated wand. She conjures the money Harlequin needs to buy Cassandre's blessing and gives him magical powers of his own. So he bewitches everybody to join him in another act, to dance for fun.

In St. Petersburg, Balanchine had danced as a boy in Petipa's "Harlequin's Millions," set to the same music by Ricardo Drigo. Perhaps for this reason, he eventually expanded the original version to include a nonstop cortege of ballabile des enfants, or young danseurs and ballerinas-to-be, who each have their shining moment in the Enchanted Park.

"Tschaikovsky Suite No. 3" will be performed again May 15, 17 & 20 and "Harlequinade" will be performed May 12 & 14 (Lincoln Center, 212-870-5570).