'Journey' arrives just in time April 8th, 2006 By Orla Swift, The News & Observer Flying angels. Walking on water. Crucifixion. Ascension. Whatever religious faith brings to mind, you'll probably see an image of it in Carolina Ballet's "Spiritual Journey." But it's the ordinary mortal moments that prove the most arresting in this four-part program of new ballets. Through gestures of grief, joy, reminiscence, birth and death, audiences of any religious denomination -- or none -- are reminded of the trials and miracles of our daily lives. In this way, the program is a considerably different journey from that of its predecessor, artistic director Robert Weiss' popular "Messiah," which portrayed Christ's life and death using Handel's famous Easter choral score. "Spiritual Journey" begins almost immediately with an image of crucifixion, in principal dancer Timour Bourtasenkov's "Vivaldi's Gloria." And it ends with an ascension, in Weiss' "Poulenc's Gloria," the same musical prayer but composed centuries later. In between, though, it's less frequently Christ's life than our own that comes to mind in these alluring new dances. Sandwiched between the "Glorias" are the journey's most memorable excursions, Weiss' "Endymion's Sleep" and guest choreographer Tyler Walters' "Ipse Dixit." "Endymion's Sleep" is a pas de deux set to an unsettling, mournful score by J. Mark Scearce, director of N.C. State University's music department. The music is inspired by a myth in which the moon falls in love with a young mortal and lulls him into a permanent sleep rather than watch him grow old and die. Weiss focused on the shame of a life cut short, casting Bourtasenkov and Melissa Podcasy as a grieving couple. Podcasy and Bourtasenkov seek comfort in each other, but they derail constantly. Lifted high, Podcasy flinches toward a fetal position. When the music takes a glissando dip, she melts to the floor. Bourtasenkov shakes her, flips her and reaches to her in myriad awkward ways, a portrait of clumsy frustration. This is what it looks like when sadness drowns us. Walters' "Ipse Dixit" uses medieval choral songs to move backward through one man's life and through civilization. It begins at death, then progresses to the calm compassion of mature love and the carefree testing ground of young romance and friendships. The final section has an eerie timelessness, its gestures and sounds evoking ancient Egypt, instinctual rituals and a return to the Earth's formation. Both works feature only the company's most advanced dancers. And they do great justice to the choreographers' sharp and inventive choreography. The "Glorias," by contrast, are less interesting. Both use large casts, and there were ragged moments in the group dances in Thursday's opening performance. In his choreography, Bourtasenkov offers lovely moments evoking a fallen angel and her guardian and archangels. But trying to match Vivaldi's relentless energy in the big, full chorus segments is daunting, and much of the choreography felt mechanical. Weiss' "Gloria" had more musicality, with dancers representing soloists or portions of the choir to good effect. What the "Glorias" lost in emotion they made up for in visual thrills. The delicious colors in Jeff A.R. Jones' costumes and Ross Kolman's lighting design rival the clearest skies, starriest nights and most fiery sunsets. In our daily drudgery, it's easy to forget the beauty of the Earth and of ourselves and one another. "Spiritual Journey" is a timely reminder not to.