Maine State Ballet’s “Can-Can Parisien” opened with two matinees on Saturday for a two-weekend run at Maine State Ballet Theater in Falmouth.

This ballet, choreographed by artistic director Linda Mac- Arthur Miele to music by Offenbach and Lecocq, is mile-a-minute fun. At just 45 minutes long, “Can-Can” is presented in one act with a steady stream of characters and interwoven themes.

Most of the ballet is a series of dances and interactions among the performers and guests at a Parisian cabaret. Eight dancers close out the evening with a high-kicking performance to Offenbach’s famous can-can theme (from his operetta “Orpheus in the Underworld”).

In lesser hands than Miele’s, can-can dancers in pointe shoes might come across as a parody akin to the ugly stepsisters’ awkward strutting in “Cinderella.” Here, though, authentic can-can moves are tastefully combined with ballet steps and style.

Along with strong performances by Maine State Ballet’s principals, soloists and corps, the cast features some exciting up-and-coming talent: young dancers from whom we see more in this ballet than we’ve seen before.

As reviewed at the 4 p.m. performance, Veronica Druchniak, featured as the Flower Seller, showed great promise as a soloist. She danced with strength and beautifully floating port de bras (arm movement), like a true ballerina.

“E. Louie Davis” (suspiciously resembling 10-year-old Emma Davis, daughter of principals Janet and Glenn Davis) was a stunner as the Shoe Shine Boy. Davis revealed surprisingly mature stage presence and excellent timing, as well as very neat technique, in both an early solo and several vignettes throughout the ballet.

The elder Davises danced beautifully as the primary couple, the Baron and the Glove Seller. Janet Davis was lighter than air in her solos. Her soft pink dress presented a noticeable contrast to the brilliant palette of red, orange, yellow and black of the other women’s costumes and the scenery (all by Gail Csoboth), enhancing a parallel contrast in choreography and character.

She and Glenn Davis danced meltingly, with beautiful line and synchrony and inventive supported turns. Both were also strong in their acting, he as a fellow with a roving eye and she in flirtatious revenge for his apparent appreciation of the other women.

Frederick Bernier channeled Charlie Chaplin for the mustachioed Reginald, the Tourist. He danced with clarity and mugged prissily. Juliette Lauzier moved with her usual elegance as the Lady in Red, dressed and bejeweled in red and partnered by the always dapper and refined Ron Trell as Monsieur le Duc.

Maiki Saito, as First Officer, executed clean turns and leaps during several briefs and partnered Druchniak well in their duet work. Younger corps members and students contributed short-but-sweet variations as Maids and Coquettes.

The can-can dancers, Sara Alpert, Caitlin Bernard, Katherine Connolly, Katie Farwell, Rhiannon Pelletier, Katie Skog, Zoe Ward and Isabel Wolfe, gave the ballet its smashing finale.

Their can-can included the classic moves — raised skirts, high kicks, cartwheels and hopping with one leg held vertically by the ankle — but also more-balletic small jumps and turns including crisp, coordinated fouettes. The choreography was effective and the dancers spirited.

“Can-Can Parisien” is perky, refreshing, accessible and audience-friendly, with a high level of professional artistry.

Jennifer Brewer is a freelance writer who lives in Saco