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 For those familiar with Helen Pickett’s work, you know instantly “Eventide” is her creation (although it is a newer version of the 2008 original).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