‘Neon Evolution’ lights up Vegas through dance

Tuesday, Oct. 18, 2005 | 9:13 a.m.

He was murderer, a thief and a gangster. She was a tough broad with a dirty mouth. Together they were opportunists, motivated by money.

But how did they perform in slippers and pointe shoes? Could Benjamin "Bugsy" Siegel successfully pull off a demiplie? Could girlfriend Virginia Hill pirouette with grace?

Not likely. But there's nothing like a good mob story told in classical dance.

Just ask Nevada Ballet Theatre. The company is in rehearsals for "Neon Evolution: Las Vegas Centennial Celebration," a three-ballet production that tells Southern Nevada's story in dance.

The performances will be presented this month at UNLV's Judy Bayley Theatre.

Although much of Siegel's role in Las Vegas is more myth than reality, historically he is tied to the city. Bruce Steivel, Nevada Ballet artistic director, said Siegel and Hill's story is perfect for dance.

"You can make a nice story of it," Steivel said. "He was a murderer. We all know that. But he had a very soft side, too. He loved his girlfriend. And there are a lot of books that say she called the shots."

"Neon Evolution" begins with a ballet by Steivel that interprets the early years of Las Vegas, followed by the symbolic Western scenarios and the mob presence.

The second ballet, choreographed by Greg Sample, a dancer for Celine Dion's "A New Day...," takes a more contemporary and comedic approach. It incorporates contemporary dance and music from the Rat-Pack era of Las Vegas.

Hotel maids, gray-haired seniors pulling one-armed bandits, dealers and cross-dressers are some of the characters in the ballet.

The third ballet, choreographed by Sonia Dawkins of the Pacific Northwest Ballet in Seattle, represents Las Vegas' Hispanic influence. Latin rhythms and contemporary dance are used to tell the story. The first and third ballets use original music by Paolo A. Santos.

Zeb Nole, a principal dancer with Nevada Ballet, is a native Las Vegan whose mother was a dancer in "Folies Bergere" at the Tropicana, where his father was a stagehand.

Nole says he is delighted to perform the role of "Bugsy" in a ballet about Las Vegas.

"I'm glad that our history is being represented," Nole said. "We're part of the culture."

"Neon Evolution" is a Las Vegas Centennial signature event.

Nevada Ballet isn't the only group to present Las Vegas' history in a classical form. In July, the Las Vegas Philharmonic presented "Las Vegas Rhapsody," an eight-minute instrumental narrative composed by Richard McGee, the orchestra's associate director.

"Las Vegas Rhapsody" was one of three original compositions the philharmonic commissioned using Las Vegas Centennial funds. The ballet was also funded through a centennial grant.

The funds were also used for "City of 100 Murals," which enabled artists and Clark County School District students to paint more than 100 murals throughout the valley. A 24-page book that features the murals is part of the project.

"We really wanted to reach the community with a real diverse, local spread," Centennial Commission Executive Director Esther Carter said. "We really wanted to get the word out."

Centennial grant recipients fall into five categories: education, culture, history, community and special events.

Richard Hooker, Las Vegas' cultural activities specialist, said that of the $1.9 million in centennial funds donated by Clear Channel, $500,000 was secured for cultural projects.

"What we were interested in as signature events were commissioned works, a legacy that would live on beyond the performance." Hooker said about the new works by Nevada Ballet and the Las Vegas Philharmonic.

Kristen Peterson can be reached at 259-2317 or kristen@lasvegassun.com.