While studying at the School of American Ballet in New York, James Sewell, encouraged by George Balanchine, began to develop his talent as a choreographer. In 1990 he established James Sewell Ballet, a company which combines classical tradition with the freedom of modern dance. With only six dancers and carefully considered costume and lighting design, Sewell and company presented at Monday night's performance a rich variety of dance with maximum audience appeal.

Dedicated to the memory of Edith Siegel, the programme began with a group of three sketches "Winter'' with music from Vivaldi's "The Four Seasons''.

Here, against a backdrop of ice blue, a wonderful study of shivering winter was represented by the whole company. With skating, prancing sleigh rides and some lovely lyrical dancing from Anna Laghezza, the ballet climaxed in a magical tableau and snowfall.

A complete contrast followed with James Sewell himself featured in "Prestidigitations''... the dictionary definition, "sleight of hand''.

In "Rings'', the first of two sequences, the audience, many of them young local dance students, thrilled to Sewell's Adagio. Based on Chinese magic Linking Rings, this was fascinating and beautiful to watch. With piquant humour, and continuing his musical theme with Scott Joplin, he then moved to "Jacket'' -- a Houdini-like escape in classical dance performed to ragtime.

Two completely different pas de deux ended the first part of the programme. In Sewell's "Whaling Waters'', which makes great use of traditional sea shanties and hornpipes, Christian Burns and Penelope Freeh, with costumes by Sally Rousse, danced an evocative tale of a sailor and his bride. Burns is a very masculine dancer, and here his athletic stature played well against the fragile vulnerability of his young wife.

From folk music to one of the most famous moments in ballet, we progressed to the love duet of Prince Siegfried and Odette from "Swan Lake''. Superbly danced by Sally Rousse and James Sewell, it was a moving reminder of the young choreographer's classical background.

After the intermission, another pas de deux, "Tryst'', featured Jesse Hammel and the luminous Anna Laghezza dancing to a Bach Adagio. The stark contrast of "The Reremember'' followed with the music of Hugo Wolf. With romantic costume by Cathy Hazeltine and the magnificent voice of Jussi Bjorling -- arguably the greatest tenor of the twentieth century -- this was a marvellous interpretation by dancer Penelope Freeh of Wolf lieder and the tragic theme of lost love.

Much of the success of Monday's performance was due to lighting designer Kevin A. Jones. In combination with Mary Hansmeyer's simple but effective costumes, his crowning glory was the company finale "Moving Works''. In five segments and with music from Bach to Combustible Edison, Sewell in his choreography seemed to celebrate the splendour of the human form. He pushed his dancers to the limits of coordination with a web of intricate pattern and rhythmic complexity. The last vignette with Sengalese vocalist Baaba Maal and the Kodo Drummers of Japan, was a brilliant vision of flashing colour and dazzling effect.

Sewell's strength as a choreographer is reflected in his extensive knowledge of diverse musical repertoire, and his innate feeling for the essence of the scores he chooses to illustrate. He has a young and vital company. With is fine production staff they make a formidable team. It is hoped that this will be the first of many visits to Bermuda.

MARJORIE PETTIT JAMES SEWELL BALLET dancers Joel Klausler and Anna Laghezza.

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