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 For those familiar with Helen Pickett’s work, you know instantly “Eventide” is her creation (although it is a newer version of the 2008 original).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

Dance every night this week!

As the season winds down, there’s a chance to see some amazing dance through the weekend. Fill your social calendar ASAP:

Tappin’ Thru Life: An Evening with Maurice Hines © Scott Suchman

Tuesday-Sunday:

Tappin’ through Life: An Evening with Maurice Hines

The Broadway star sings and taps honoring his older brother Gregory Hines all the singers and performers who have shaped his career and the history of tap. Music features the Berklee College of Music Select Big Band. (Cutler Majestic Theatre, artsemerson.org)

Thursday-Sunday:

Alvin Ailey American Dance Theatre

(Citi Wang Theatre, www.celebrityseries.org)

Misa Kuranaga and Jeffrey Cirio in “Coppélia” ©The George Balanchine Trust. Photo by Rosalie O’Connor.

Thursday-May 26:

Boston Ballet: Coppélia

Mikko Nissinen’s dancers take on George Balanchine’s full-length story ballet about a man who falls in love with a life-size doll.

(The Opera House, bostonballet.org)

Friday:

Tap Day Celebration!

Looking for a lunch break? ArtsEmerson invites you (regardless of skill level) onstage for a tap dance circle. (Cutler Majestic Theatre, artsemerson.org)

Friday-Saturday:

Prometheus Dance: Heart of the Matter

In celebration of its 25^th anniversary, the modern dance company performs a world premiere.

(The Boston Conservatory Theater, worldmusic.org)

Friday-Sunday:

José Mateo Ballet Theatre: Method & Madness

JMBT concludes its season with three ballets: “The Sirens,” “Escape” and “Over and Over.”

(The Sanctuary Theatre, ballettheatre.org)

Alvin Ailey American Dance Theatre back in Boston!

Belen Pereyra and Antonio Douthit in Kyle Abraham’s “Another Night.” © Paul Kolnik

Celebrity Series of Boston presents the 43^rd Boston appearance of the Alvin Ailey American Dance Theatre for an exciting spring program.

Artistic Director Robert Brattle, now in his sophomore year, brings 11 ballets to town for the four-day engagement, including a Boston premiere.

American choreographer Kyle Abraham’s “Another Night” made its world premiere with AAADT this season. The 2012 Jacob’s Pillow Dance Award winner’s piece is urban ballet set to Art Blakey & The Jazz Messengers cover of “A Night in Tunisia.”

What else can you expect to see? For starters, the cornerstone of the company, Ailey’s iconic “Revelations” (Fri, Sat matinee, Sunday only!); or one of Brattle’s own pieces (“In/Side,” “Strange Humors”); or even “Petit Mort” (set to Mozart) from one of the hottest choreographer trending in the Hub in recent years: Czech-Nederlands contemporary master Jiří Kylián.

Later this summer

Abraham’s company, Abraham.in.Motion returns to the Berkshires for the Jacob’s Pillow Festival this summer (August 21-25, jacobspillow.org).

Alvin Ailey American Dance Theatre

May 16-19

Citi Wang Theatre

270 Tremont St, Boston

$30+, 866-348-9738

www.celebrityseries.org

Boston Ballet presents Chroma

Boston Ballet Director Mikko Nissinen puts together a perfect trio of ballets, making Chroma the best program of the season. It’s modern, classic and mesmerizing — with works from two groundbreaking choreographers.

Ashley Ellis and Nelson Madrigal in Serenade © The George Balanchine Trust. © Gene Schiavone

Serenade

All eyes on the ladies as they take to the stage in this George Balanchine masterpiece. Originally created as a technique lesson, Serenade, set to Tchaikovsky is comprised of four movements with the corps de ballet in pale blue leotards with long tulle skirts. Ashley Ellis has the breakout performance — literally letting her hair down as she graces the stage with pose and perfection.

Jeffrey Cirio in Wayne McGregor’s Chroma. © Gene Schiavone

Chroma

The headliner is cutting edge innovation — both in its choreography and music. Premiering in London in 2006, Royal Ballet resident choreographer Wayne McGregor stages five couples in flesh tone leotards in a giant white shadow box and expands the pit with percussionists housed in the Opera House balconies. It’s nonstop elastic energy is paired with music by Joby Talbot and Jack White (yes, Jack White, of The White Stripes). Chroma is like a live version of a James Bond opening credit.

Whitney Jensen, Patrick Yocum, Bradley Schlagheck, Lawrence Rines in Symphony in C. ©The George Balanchine Trust. © Gene Schiavone

Symphony in C

The final piece, also by Balanchine, is purely exceptional, traditional ballet. Dressed in tutus and tiaras — the four movements are led by Misa Kuranaga, Lia Cirio, Kathleen Breen Combes (super great with partner Jerffrey Cirio!) and Whitney Jensen. By the end, 50+ dancers are in perfect sync and organized patterns leaving the audience wanting more from all three performances.

Boston Ballet presents Chroma

Through May 12

The Opera House

539 Washington St., Boston

$39-$142, 617-695-6950

www.bostonballet.org

Boston Ballet presents All Kylián

Snap, crackle, pop!

Boston Ballet delivers another set of classic Jiří Kylián pieces

Boston Ballet can’t get enough of Jiří Kylián. And neither can Boston audiences.

Now for three continuous seasons, Boston Ballet has put on jaw dropping performances of the Czech-Nederlands contemporary choreographer. This year’s pieces by the Artistic Director of Nederlands Dans Theatre are all Boston premieres.

“Wings of Wax” opens the show with revolving spotlight highlighting an inverted tree. Four women dressed in black unitards and 4 men dance underneath the chandelier of an inverted tree and revolving spotlight. The partnering choreography in the piece is exquisite, innovative and seamless between the dancers.

Avant-garde ballet “Tar and Feathers” features two unusual elements: a Steinway piano on stilts and bubble wrap. Tomoko Mukaiyama (the original, and only accompanists) is perched 10 feet above as 1 dancer seems to go mad, taking on the personification of a mad dog. This is by no means is an attractive ballet, but it is unforgettable as the dancers later appear in bubble wrap skirts and wigs. Plus, who doesn’t love the sound of popping bubble wrap amidst the quietness.

And finally, one of Kylián’s best known works, “Symphony of Psalms,” hits close to home with a Stravinsky score once commissioned for the Boston Symphony Orchestra. Even though the women wore slightly boring neutral tea-length dresses, in contrast, the live chorus along with choreography felt like a religious celebration.

 

Boston Ballet presents All Kylián

Through March 17

The Opera House

539 Washington St., Boston

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

$39-$142, 617-695-6950

www.bostonballet.org

Boston Ballet presents “Play with Fire”

Jorma Elo’s Sharper Side of Dark

Boston Ballet takes a break from story ballets and hits the stage with contemporary techniques in Play With Fire.

The opener — “Sharper Side of Dark” may look somewhat familiar, but at the same time, very different. Resident choreographer Jorma Elo has “remixed” his initial work “Sharp Side of Dark” to reflect his personal growth as a choreographer. Lighting continues to play an important role as well as the power of silent choreography.

Jiri Kylian’s Bella Figura

Back by popular demand, Jiří Kylian’s “Bella Figura,” is simply breathtaking. Rie Ichikawa leads with grace beyond words as her body is in constant fluidity and she creates quiet intimacy within the grandness of The Opera House stage. If you haven’t seen it, buy tickets now. If you saw it last season, don’t pass up the chance to see it again.

James Whiteside in Rooster

Boston Ballet literally lets their hair down with Christopher Bruce’s “Rooster.” Comprised of eight Rolling Stones songs from the early 60s, the piece is a throwback to the sociology of the times. With the men in colored ruffled tuxedo shirts, ties, and velvet blazers and the women in black and red frocks, it’s fast, flirty, fun and seductive (“As Tears Go By,” “Paint It Black”). But, its quick pace, short song format is almost too quick and leaves audiences wanting more.

The standout of Opening Night goes to James Whiteside who performed all three works. He continues to impress audiences with his sharp technique and artistic expression. He’s perfectly cast as the lead “rooster” in the final work.

On their own, all three ballets were executed brilliantly — but as a package, the Stones work just didn’t jive with the previous two.

Note: This program contains partial nudity (“Bella Figura”)

Boston Ballet presents Play With Fire

Through March 11

The Opera House

539 Washington St., Boston

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

$25-$132, 617-695-6950

www.bostonballet.org