Deceit, madness, death and vengeful spirits make up the outrageous storyline, not for a fantasy novel or Sci-Fi film, but for the ballet "Giselle." Choreographed in 1841 by Jules Perrot and Jean Coralli, "Giselle" embodies the values of the Romantic era, particularly the conflict with love crossing rigid class lines.

In "Giselle," Count Albrecht disguises himself as a commoner and competes with Hilarion for the love of a peasant girl. In time, Albrecht is exposed as a two-timing nobleman. When his fiancé claims him as her own, poor Giselle goes insane, tries to kill herself with a sword, and dies of a broken heart. She rises from her tomb in the forest and floats among the angry Wilis, spirits of jilted girls who died before their wedding that force male trespassers to dance to their deaths.

California Ballet launched its 40th anniversary with a compelling restaged "Giselle" at the Poway Center for the Arts. Many troupes approach this classic with technical grace and energy, but this company also emphasized expressive acting and created believable characters in a range of emotions, which made the ghostly tale work.

Sunday afternoon's performance was satisfying from beginning to end. Village and forest sets, lighting and spooky fog added to the fantasy. And couples were well matched. In Act I, with her Snow White virtue and rail-thin body, Jennifer Curry was a spirited yet frail Giselle. Dark and muscular, Andrei Jouravlev was a dashing, deceitful Albrecht. Strikingly attractive partners, the contrast added a real spark, and their movement suggested they were equal, dancing side by side, often doing the same steps. They circled in grounded folk-like jigs and waltzed joyfully with their village friends.

In one section they reached for each other, but couldn't quite touch. It was a chilling reminder that their relationship was doomed. In the mad scene, the lovely Curry turned wild, reliving her love affair and earlier dance steps. As she twisted about, the corps of dancers remained still, staring at her with a mixture of sadness and horror, which created a vivid juxtaposition.

In Act II, a towering stern-faced Kristie Cordle-Infante appeared as Myrtha, evil queen of the Wilis. With a single swipe of her hand, her ghostly virgins moved into formation and pushed a grief-stricken Hilerion into a lake to drown. Dressed in white gowns, indicative of wedding gowns they never got to wear, the women moved slowly into configurations and stretched into arabesque penchee, hovering over the floor like supernatural moths. They crossed their arms like mothers holding invisible babies.

When Myrtha condemned Albrecht to dance to the death, Giselle intervened. Choreography and lifts in this section were dramatic; Jouravlev lifted Curry high over his head, and her limp body folded dangerously off center. It seemed they finally consummated their relationship, but she was already dead. Giselle returned to her tomb, and Albrecht was left to live with his grief, but their love was eternal.

A highlight of this performance, which also featured Pablo Infante as Hilarion, was the peasant pas de duex with Chie Kudo and Raydel Caceres whose joyful elegance was charming. The dancing was technically precise. Extensions, pirouettes and group configurations were often thrilling. But the program was also remarkable for its acting that was never desperate or too extreme.

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