‘Don Q’ energetic, delightful

Atlanta Ballet’s newish production of an old chestnut —- “Don Quixote,” music by Ludwig Minkus —- is the latest proof that dancers in this company may come in mismatched shapes and sizes but, remarkably, function as a supple and tight unit.

A story of youthful love and geriatric dementia, this “Don Quixote” is the first in the company’s 79-year history. The breadth and sheer glory of the choreography, an enriching pleasure, is the primary attraction. It’s backed here by an orchestra that plays confidently in the pit. The conventionally grand sets and voluptuous costumes (rented from Houston Ballet) are a delight.

In this “Don Q” —- shorthand in dance circles —- artistic director John McFall takes a caretaker role. He started with the imperial Russian choreography of Marius Petipa, whose opulent “Swan Lake” and “The Nutcracker” also form the basis of Atlanta Ballet productions. As with those other classics, McFall tweaked the tale of “Don Q” and injected bits of pantomime acting to convey the somewhat fussy plot changes. It’s a slender frame to support almost two-and-a-half hours of energetically graceful dancing.

The gangly, senile old knight (Mark MacKillop in the “A” cast) and his chubby sidekick Sancho Panzo (Paulo Manso de Sousa) are still roaming the countryside for adventure, chivalry and fleeting glimpses of the veiled Dulcinea (Kelly Prather).

The real movement takes off with the love of Kitri (Christine Winkler) and Basilio (Christian Clark) as they woo and partner and resist the protests of her father (Armando Luna). Clark is a wonder: coiled and visibly ready to spring when he’s standing still, yet serene when he hovers. Winkler spends much of her time lifted in the air, a cute girl with poise like no teenager, and she won the evening’s biggest applause.

Along the way are gypsies and a drunken matador (the comic, charismatic Nathan Griswold). There’s also Gamache (Jonah Hooper over the top), a swishy fop in yellow satin and a pink cape. He’s tormented by the crowd and —- in old Southern tradition —- finally bound with rope and carried away by a violent mob.

Magical scenes, like the ensemble of forest dryads in Act Two, are classical ballet at its most intoxicating. Kristine Necessary’s precision-tooled leaps, as the Dryad Queen, were dazzling moments of star appeal. To McFall’s credit, he taps the enormous yet disparate talent within the company and makes the many moving parts of “Don Q” work splendidly.