Waiting in the wings…

May 8-10

World Music/CRASHarts presents MOMIX
Emerson/Cutler Majestic Theatre
19 Tremont St., Boston
$35-69
617-876-4275
http://www.WorldMusic.org.

From the wild and whimsical imagination of Moses Pendleton comes Alchemia, MOMIX’s dazzling new multimedia spectacle full of invention, beauty, and playful humor. A fantastical exploration of the four elements of earth, air, fire, and water, the show bursts with aesthetic thrills, surprising metamorphoses, and the sensuality of nature itself.
MOMIX is a company of dancer-illusionists under the direction of Moses Pendleton, internationally known for presenting work of exceptional inventiveness and physical beauty. The irrepressible Moses Pendleton’s latest creation, Alchemia, is all about the ancient art of alchemy, which originated in Egypt. As he noted, “For me, [alchemy] is an aspirational art, more about the process than the product – the process itself is the philosopher’s stone, involving creative stimulation of the elements of nature, or in my case, of dance theater: fire and water, earth and air, male and female, the heavy and the light, the light and the dark, in opposition and in union (the climax that alchemists call conjunctio).” In this enchanting, phantasmagorical production, Pendleton leads audiences on a surreal journey, displaying an ancient city, the torment of the metals, the tablet of Hermes and the face of Horus, the mythical phoenix, the alchemical egg, and even the snake (the ourobouros) eating its tail.

Artistic Director Moses Pendleton formed MOMIX in 1980 after being a founding member Pilobolus Dance Theater in 1971. which rapidly established an international reputation for its inventive and often illusionistic choreography. Pendleton has also been active as a performer and choreographer for other companies.

Boston Ballet presents “Edge of Vision”

 

Helen Pickett’s “Eventide.” Photo by Rosalie O’Connor

The city lives on the “Edge of Vision” with a trio of ballets created especially for Boston Ballet.

The curtain opens and beautiful rich hues of red and oranges illuminate the backdrop. For those familiar with Helen Pickett’s work, you know instantly “Eventide” is her creation (although it is a newer version of the 2008 original). The choreography picks up immediately and never slows down — fast passed, complex and multidimensional. It has a slight “Game of Thrones” feel. The corps de ballet is dressed in silver strapless leotards and the principle dancers done black and silver metallic with a hint of red tulle. As the ballet continues the backdrop changes to into distinct times of the night black (no sunlight) to a shimmery starry night. Whitney Jensen shines in both Eventide (and later in Bach Cello Suites). But in Pickett’s work, Jensen shows of a confident attitude, clearly letting her partners, Irlan Silva and John Lam, know that she’s in control.

Jorma Elo’s “Bach Cello Suites.” Photo by Rosalie O’Connor

The program continues with a world premiere from creative genius and resident choreographer Jorma Elo. In “Bach Cello Suites” Elo has really created something special — a sole cellist (Sergey Antonov) sits on stage and plays (from memory) for 10 coupled-up dancers under a white rotating lattice. Bach Cello Suites is impressive.

Jorma Elo and the cast of “Bach Cello Suites.” Photo by Rosalie O’Connor

And then there is Elo himself, dancing in the Opening Night performance. The insertion of his character seems strange and out of left field. It’s reminiscent of a puppet master or even The Nutcracker’s Herr Drosselmeyer as he runs around the stage, manipulating Jeffrey Ciro’s body and singling Kathleen Breen Combes from the group. It didn’t seem to add much. Not to mention, Elo’s costume is ill-fitting and distracting.

Lila York’s “Celts.” Photo by Rosalie O’Connor

Digging into the company’s repertoire, “Celts” (1996) concludes the evening. It’s just what you’d expect — a grandiose “Riverdance”-meets-ballet mashup. Cirio is like a spring, leaping and jumping. Lasha Khozashvili establishes a dominant presence in a rich red velvet kilt, leading the men and also partnering with Lia Cirio.

Lasha Khozashvili in Lila York’s “Celts.” Photo by Rosaline O’Connor

Opening Night was good, but not great. “Eventide” and “Bach Cello Suites” needed a few more hours of rehearsal. It seemed like one or two dancers were always a fraction of a second off in the group sequences.

Take a peek!

Through March 29
The Opera House
539 Washington St., Boston
$29-$142, 617-695-6950
www.bostonballet.org

Eat Cake! Boston Ballet presents Shades of Sound

Black Cake, Boston Ballet ©2014 Rosalie O’Connor Photography

It may not feel like Spring outside, but step inside the Opera House and you’ll be refreshed with Boston Ballet’s 3-piece program “Shades of Sound.” Artistic Director Mikko Nissinen combines contemporary, modern, classical, ballroom and bubbly for night that is sure to re-energize the senses.

BB premiered Chroma in 2013, and opens “Shades” with its 10 dancers in neutral colors inside a white shadowbox-like set. From beginning to end, Chroma is high energy, non-stop contemporary dance. Sit back, it’s a rollercoaster of movement and emotion. The percussionists are in the spotlight of the Joby Talbot and Jack White’s (yes, The White Stripes’ lead man) music in the House balconies.

George Balanchine’s Episodes ©2014 Rosalie O’Connor Photography

After intermission, the curtain opens and you know immediately that it’s George Balanchine — a stark backdrop with dancers in black and white leotards. Originally, Episodes was a collaboration between Balanchine and Mother of modern dance Martha Graham. And although Graham’s choreography is no longer used, the music (Anton von Webern) and Balanchine’s style still gives this older ballet a modern feel. Episodes showcases BB’s roots in exquisite, world-class technique.

And then there’s dessert. Oh so yummy dessert. Black Cake is flirty and funny and a happy ending to a great night of dance. Six couples, dressed in black cocktail attire get a little tipsy as they tango. Leading ladies: Rie Ichikwaka, Kathleen Breen Combes and Dalay Parrondo show the men they’re in control… until they’re not. The group gets loose and shows all the truths of the emotional drunk. It’s perfectly performed, leaving the audience wanting another piece of Cake.

Through March 29

The Opera House

539 Washington St., Boston

$29-$142, 617-695-6950

www.bostonballet.org

Go Nuts!

Intimidated by the number of versions of the famed ballet hitting Boston this winter? Take this quiz!

Urban Nutcracker by Raven Wolfe Photography

It’s Nutcracker season! Ladies, we know what you’re thinking: There are so many, how do I choose? And men, we get it: do we have to go … AGAIN?

Good news! There are plenty of shows to go around, so if you want to try something different our quiz will guide you in the right direction this holiday season. Our favorite? We wouldn’t miss any of them!

1. I’ve seen “The Nutcracker”…
A.    Never
B.    Only a handful of times
C.    What’s “The Nutcracker”?
D.    Enough times to want to change it up

2. My plan for a night out is to…
A.    Get dressed up, go big and go home
B.    Impress my date with something cultural and romantic
C.    Have a fun night out with the whole family without breaking the bank
D.    Hoot and holler and have a rip-roaring time with friends

The Polichinelles in José Mateo’s Nutcracker

3. When I think of “The Nutcracker” I think of…
A.    Tchaikovsky’s score
B.    The Sugar Plum Fairy
C.    Children
D.    Ugly Christmas sweaters

4.  When it comes to Tchiakovsky’s score I want to hear …
A.    A big, live orchestra
B.    Pre-recorded music is OK with me
C.    A jazzy version
D.    Buzz buzz

Boston Ballet’s Nutcracker by Gene Schiavone

5. I want to see…
A.    The biggest Christmas tree ever
B.    Men in tights … up close and personal
C.    Ballet with a little tap, jazz and hip-hop too
D.    Boobs
6. When it snows I want…
A.    White-out conditions
B.    Only want a light dusting
C.    To be outside on the Public Garden
D.    To be protected from the elements

7. All I want for Christmas is …
A.    A prince to sweep me off my feet
B.    A Nutcracker
C.    A loved one home from the military
D.    Batteries for my dildo

The Slutcracker

8. When I go to sleep I dream about …
A.    Dancing bears
B.    Mice
C.    Hula hoops
D.    50 Shades of Grey

9. I would love to travel to…
A.    Russia
B.    China
C.    My favorite spots in Boston
D.    The Museum of Sex

10. Santa, I’ve been:
A.    Perfect
B.    Nice
C.    Happy
D.    Naughty

If you scored:

Mostly As
Boston Ballet presents Mikko Nissinen’s “The Nutcracker”
Tradition! You have BB’s Christmas ballet permanently marked in your calendar for you to enjoy from age 2-102.
November 28-December 31
The Opera House
539 Washington St., Boston
$35-$220, 617-695-6950
www.bostonballet.org

Mostly Bs
José Mateo Ballet Theatre presents “The Nutcracker”
You want to have a quiet dinner date night, enjoy the ballet and continue your night over a cup of hot cocoa in Harvard Square.
November 28-December 21
Various venues: The Sanctuary Theatre (Harvard Square, Cambridge),
The Strand Theatre (Dorchester) and Duxbury Performing Arts Center
$15-$50, 617-354-7467  
www.ballettheatre.org

Mostly Cs
Tony Williams’ Urban Nutcracker
You know a little bit about ballet, but you want to spice it up, and bring it into Boston’s 21st century.
December 12-28
John Hancock Hall
180 Berkeley Street, Boston
$25-85, (888) 596-1027
www.urbannutcracker.com

Mostly Ds
Vanessa White’s “The Slutcracker — A Burlesque”
Want shock and awe? This show is definitely a conversation starter. Even your conservative buddies will be jealous that you got to be a little naughty for a night.
December 5-31
Somerville Theater
55 Davis Square, Somerville
$27, 617-625-4088
www.theslutcracker.com

Mikko Nissinen’s Swan Lake World Premiere

Misa Kuranaga and Jeffrey Cirio. Photo by Rosaline O’Connor

Mikko Nissinen’s “Swan Lake” can be described in one word: stunning.

But to leave it at that, would be an understatement to the beauty and perfection of reimagined full-length ballet that made its world premiere last week. On a night filled with sadness of the passing of Mayor Thomas Menino, the dancers of Boston Ballet did Nissinen and the city proud. No detail is overlooked: from the choreography to the costumes to the lighting and scene design, Nissinen is a master of his craft.

 

The Choreography

Big ballet choreography is Nissinen’s forté. The Castle Gardens and Ballroom scenes have a lot of moving parts, but the artistic director knows where and when to catch the audience’s attention. He also plays it smart by staying true to Marius Petipa and Lev Ivanov’s most beloved and eye-catching sequences like the 24 white swans floating across the stage in ever-moving patterns and the Dance of the Cygnets (four Swans). (Mezzanine and balcony viewers, you are in for a treat!)

 

Kuranaga and Cirio. Photo by Rosaline O’Connor

The costumes and set design

Not a feather is out of place on the show’s 127 handmade costumes. If there is an award in the dance world for best costume design, Odette’s alter-ego Odile (the black swan) with more than 4,000 crystal jewels wins, hands down.

 

The Lighting Design

You have to see it to feel it. The last scene especially — it’s eery and it’s dark and it’s wonderfully beautiful. It’s so well done you don’t want it to end.

 

The principal dancers

Misa Kuranaga and Jeffrey Cirio are back in their perfect pairing as Odette/Odile and Prince Siegfried. These two together continue to make visual arts both visual and emotional. Kuranaga is a world-class dancer — the Odile solo is simply impressive.

 

Boston Ballet presents Mikko Nissinen’s “Swan Lake”

October 30-November 16, 2014

The Opera House

539 Washington St., Boston

MBTA: Red/Orange Line to Downtown Crossing; Green Line to Boylston

$59-250, 617-695-6950

www.bostonballet.org

The Slutcracker — a burlesque

Madonna blasts from the PA system in the Somerville Theatre and as the lights go down, host Mehran Khaghani announces that the Sunday night performance we’re attending of “The Slutcracker — a burlesque” happens to be the 75^th performance. This crowd, he says, “isn’t afraid of Monday morning.” No, they certainly are not — they are hooting and hollering and watching plenty of tits and ass in Vanessa White’s freakishly fun spin on the classic “Nutcracker.”

If you’ve never been, you’re in for some fun — watch a grown Clara (Fanny Fawndew) explore her sexuality, before she commits to her wedding engagement.

The ugly-sweater brigade returns, led by Fritz (Paolo Mania) and the pink sequined Slutcracker Prince (Oliver Tryst) has his batteries (Kid Vicious and Joy Ryden), Slutcracker Bunny (Femme Brulée) and Drosselmeyer (UnAmerika’s Sweetheart Karin Webb) supporting him from behind (pun intended). Act I ends with an orgasmic bang. You’ll be offended and embarrassed, but secretly, or not so secretly, you’ll love it!

Act II includes all kinds of sexual fun, like bonded Russian dominatrix (Ginger Slap, Dinah DeVille, Peaches Dupree), Sindy Katrotic and the Dance of the Reed Pole, the always entertaining Polichinelle, Wet Spot Fairy (DeVille) and the Sugar Dish Fairy (White herself). The Gimp (Willy Dumey) plays a bigger comedic role this season as he clears the stage of bras and panties left after each divertissment.

If you’re looking for professional technical ballet, head back across the river to the Opera House. But, if you’re feeling frisky, relocate the office party after-party to the Somerville Theatre for a slutastic time. (And pick up some exclusive “Slutcracker” pasties for the grab bag at your next naughty Christmas party!)

Note: This is not a kids’ show. So, if you absolutely cannot find a babysitter just make sure your baby is young enough not to remember and be scarred for life. The production of the show isn’t all that different from 2012, but its the crowd that really makes for a great night. So leave your manners at the door and let your inner sexy Santa loose.

“The Slutcracker — a burlesque”

Through December 31

Somerville Theater

55 Davis Square, Somerville

$25, 617-625-4088

www.theslutcracker.com

José Mateo’s The Nutcracker

Snow Queen Elisabeth Scherer Photo credit: Karen Wong

José Mateo Ballet Theatre returns this holiday season with their three-city tour of “The Nutcracker.”

On their intimate home stage (The Sanctuary Theatre) Mateo’s dancers are led by Drosselmeyer (The Dance Complex’s Executive Director Peter DiMuro) in Act I’s workshop and party scene. DiMuro adds energy and direction, showcasing his life-size dolls, nutcracker gift and admiration for a young Clara (Leila Dixon).

As Clara falls asleep under the tree, the room comes alive with mice and soldiers that leads up to a battle with the Nutcracker Prince (Ivaylo Alexiev) and not-so-scary looking Rat King (Matthew Walker). Snow Queen (Elisabeth Scherer) closes out the first half with a snowy filled stage of Snow Princes and Snowflakes.

There are more than 200 local children involved in this year’s production and the role of Clara is every little dancer’s dream. Fourteen-year-old Dixon as the young star has mastered the art of performance art in a small venue. She never let her facial expressions drop and remained engaged with both her fellow dancers and the audience. It’s disappointing that she is scarce in the second half — the two acts seem disconnected without her.

With minimal sets, Mateo’s Nutcracker focuses on the choreography. And unfortunately, for Act II, that missed the mark.  The choreography is there, but the execution is not. For a mid-run performance, there unnecessary mistakes. Hopefully, this weekend’s closing run in Dorchester will work out those imperfections.

 

José Mateo Ballet Theatre presents “The Nutcracker”

December 20-22

The Strand Theatre

543 Columbia Road, Dorchester

$15-$50, 617-354-7467

www.ballettheatre.org

Anthony Williams’ Urban Nutcracker

Now in its 13^th season, Anthony Williams’ Urban Nutcracker returns to the John Hancock Hall stage full of excitement and Boston-centric detail.

It’s more than a ballet of the classic holiday fairy tale. Sure, it’s Tchaikovsky’s score, but a smooth, swanky, jazz interpretation by Duke Ellington. The urbanized “Hubcracker” version reflects Boston’s multicultural vibe, embracing all forms of dance and diversity including tap, hip-hop, swing, flamenco, step, jazz and 75 local children.

The Prologue is always entertaining, and this year’s street battle is no exception. It’s tap versus hip-hop krump and it’s fantastic. Urban tapper Khalid Hill battles local krumper Russell Ferguson (Season 6 winner of “So You Think You Can Dance”). Whether it’s free-styled or completely choreographed you could watch these two go at it all night — true talents of their crafts. You’ll get to witness more of Ferguson onstage as Soldier Doll and Russian Caviar Caper.

Young dancer Alexa Wang (Clarice) is truly a joy to see perform. She has the biggest smile on her face — enjoying her moment onstage. Other lovable characters include the return of Tony Award winner Yo-el Cassell as the quirky Minimeyer, Soldier Doll, Six Roff Riff’s blue bopping dancers and the Sugar Plum Fairy (Kseniya Melyukhina).

New changes feature a Snow Scene in Boston’s Public Garden — Clarice (Alexa Wang) and the Nutcracker Prince are led by a sleigh of ducklings, inspired by author Robert McClockey’s “Make Way for Ducklings.” The Grand Pas de Duex is a Grand Pas de Quatre — the Sugar Plum Fairy (Melyukhina) is accompanied by 3 males from the divertissments (Russian Caviar Caper Ferguson, Desert Chiffon Marquise Hitchcock-Jones and Branch Rick Vigo) along with Drosselmeyer (Gianni Di Marco) who plays a major role throughout the show, replacing an absent Nutcracker Prince in the second act.

Anthony Williams’ Urban Nutcracker

Through December 22

John Hancock Hall

180 Berkeley Street, Boston

$25-$85, (888) 596-1027

www.urbannutcracker.com

Boston Ballet’s The Nutcracker

Little girls are dressed to the nines for Boston Ballet’s opening night of Artistic Director Mikko Nissinen’s “The Nutcracker.” The holiday buzz is full with excitement as the lights lower and Tchaikovsky’s familiar score begins.

Boston Ballet is riding high in their 50^th anniversary season. There’s something about the sophomore year of Nissinen’s newest version that makes it stand out — even better than it’s world premiere in 2012.

Nissinen does a nice job of stringing small details of the storyline throughout the ballet — from Drosselmeiers’s magic show in the Prologue to the life size toys to the Battle Scene and Clara’s awakening in the last few moments. Onstage, it snows the entire length of the enchanting Snow Scene — only adding to the magic of it all.

Jeffrey Cirio and Misa Kuranaga pair up again as The Nutcracker Prince and Sugar Plum Fairy. The principle duo continues to impress in each of their roles with a Grand Pas de Deux that leaves the audience wanting more.

But what is most impressive is the discipline and poise of the production’s littlest stars — students of the Boston Ballet school dance as if they’ve been professionals for life. Eliza French carefully executes Clara, capturing the innocence of all children at Christmastime.

Boston is lucky to see perhaps the most authentic version of  “The Nutcracker” to date. It’s performing arts at its best — high energy, high quality, high impact performing arts. A must-see this holiday season for ages 5-105.

 

Boston Ballet presents Mikko Nissinen’s “The Nutcracker”

Through December 29

The Opera House

539 Washington St., Boston

$35-179, 617-695-6950

www.bostonballet.org

 

Boston Ballet presents Coppélia

Misa Kuranaga and Boyko Dossev in George Balanchine’s Coppélia ©The George Balanchine Trust. Photo by Rosalie O’Connor.

Coming right off the heels of a spectacular production of “Chroma,” Boston Ballet presents classic Balanchine with “Coppélia.” Making its Boston debut as recently as 2010, Mikko Nissinen’s dancers performs the ballet with such ease and familiarity.

“Coppélia” is about a playful prank that leaves a man in heartache. Lovable and gullible Franz (Joseph Gatti) becomes infatuated with Coppélia, whom he thinks is Dr. Coppélius’ daughter. Swanilda (Kathleen Breen Combes) discovers that she’s really a life-size doll and changes into her clothes. Swanilda then tricks the doctor in to thinking a magic spell has brought his beloved doll to life. Meanwhile, Franz is too drunk to realize what is happening.

It is a delight to watch Breen Combes dance. She has such a natural stage presence for story ballets — bringing Swanilda/Coppélia to life with a spunky attitude and playfulness just as she did with her breakout role as a stepsister in “Cinderella” (2008).  Her energy is contagious — every dancer brings 100 percent to the stage — from Swanilda’s girlfriends to Dr. Coppélius (Robert Kretz) rickety walk to the mechanical movements of the other dolls in the attic. No one misses a beat — not even the Boston Ballet students in Act II — with all the theatrics and fast footwork this production demands.

This is a great ballet for children as the story line is easy to follow and there is quite a bit of humor. It’s sure to be a Boston Ballet repertory favorite for years to come.

Coppélia

Through May 26

The Opera House

539 Washington St., Boston

$39-$142, 617-695-6950

http://www.bostonballet.org