You'd expect any ballet choreographed by Fernando Bujones to reflect the same priorities as his dancing: boldness of attack, technical brilliance and, above all, self-confident display.
You'd be right: In its first local performance, Wednesday in Shrine Auditorium, Bujones' 2-month-old "Grand Pas Romantique" offered a dozen American Ballet Theatre corps members and two principals the sort of glittering classical showpiece Bujones-the-dancer excels at.
The music (from Adolphe Adam's "Le Diable a Quatre") came from the Romantic era, and Marianna Tcherkassky's softly floating "Sylphide" arms in the pas de deux did suggest early 19th-Century style. But, otherwise, "Romantique" was strictly classique --from Jose Varona's ornate, short tutus in peach (the corps women) and apricot (Tcherkassky) to Bujones' bravura step combinations.
Some intriguing ideas about space--a brief adagio that drifted across the stage and out, a wholly vertical solo that kept Danilo Radojevic springing up like a fusillade of skyrockets--these were glints of a genuine choreographic imagination. However, the formula sequencing patterns in corps passages and, in particular, the hopelessly disjointed solo given Tcherkassky marked the work as a first effort: workshop stuff, nicely danced.