Cincinnati Ballet’s dancers, now under the leadership of new artistic director Jodie Gates, did an exceptional job bringing Alice’s adventure down the rabbit hole to life. I saw two separate casts, one of which was headlined by a rising star within the company, newly minted soloist Katherine Ochoa. Ochoa proves to be one to watch. Her overall speed, height of her jumps, and fouettés (that have already made her a viral sensation on social media), were all complemented with a touch of playfulness and sweetness to her Alice.

The other cast, led by seasoned principal Melissa Gelfin De-Poli was more synchronized and “alive” overall. Gelfin De-Poli, who performed Alice back in 2015 as well, was clearly comfortable within the role, interactive with even the littlest cast members and expressive without being overdone.

Principal Sirui Liu owned her role as Alice’s mother and the Queen of Hearts from the moment she stepped on stage during the opening of Act One. Commandeering, haughty, and a force to be reckoned with.

The beauty of a ballet like “Alice” is the plethora of soloist roles that allow various company dancers to shine, one of which was corps de ballet member Samantha Riester who gave a captivating performance as the caterpillar during both casts I saw. Riester was fluid and supple as she was carried by four men who moved her through intricate lifts, manipulating her body through splits, flips and dives, giving the illusion of a mermaid moving through water. Llonnis del Toro Cintra, a new dancer in the company who already performed in a soloist role as the White Rabbit, was light on his feet and breezed through effortless petit allegro.

Looking ahead with eager anticipation, Gates has programmed a delicious repertoire for the 2023-2024 season featuring everything from Balanchine, Forsythe, Kylián and a new “Don Quixote.” It will be exciting to see the opportunities Cincinnati Ballet’s talented roster will have to shine.