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 For those familiar with Helen Pickett’s work, you know instantly “Eventide” is her creation (although it is a newer version of the 2008 original).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

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

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)

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 The Sleeping Beauty

Misa Kuranaga in Boston Ballet’s The Sleeping Beauty © Rosalie O’Connor

Opening night in the Opera House was abuzz in anticipation of Boston Ballet’s The Sleeping Beauty.

It is a familiar fairytale and formula set to a Tchaivosky score and choreography by ballet master Petipa. Fairy Carabosse (Erica Cornejo), annoyed that she has been left out of the christening celebration of Princess Aurora (Misa Kuranaga) gives the child a spindle as a gift, announcing that she will prick her finger on it and die. But not so fast — the good Lilac Fairy’s (Lia Cirio) gift to the princess is that she not die, but fall into a deep sleep until she is awakened by a Prince’s (Jeffrey Cirio) kiss.

Erica Cornejo in Boston Ballet’s The Sleeping Beauty © Rosalie O’Connor

This show has a lot of personality. The Lilac Fairy is a bold, fearless leader; the Songbird Fairy (Sylvia Deaton) shows a lighter funny side, the Golden Vine Fairy (Dalay Parrondo) means business. Carabosse is wickedly wicked — a character you love to hate. Kuranaga did her homework and captures all things pure and innocent about Aurora.

For a grandiose, romantic story ballet, the staging and music is delicate and inviting, as opposed to the Wang Theatre performances from several years back. An entire cast is bouncing and floating onstage, but all you can feel is the tremendous energy of the dancers and the silence around them. It’s as if Boston Ballet is putting on a private showing for your eyes only. And that is the way a ballet should be experienced.

 

SPOILER ALERT

The ballet is long — two hours and 45 minutes. Act III moves quickly, but is more of a celebratory section with other fairytale characters and a Grand Pas de Deux, since the climax of the storyline (the kiss) is at the end of Act II.

 

Boston Ballet presents The Sleeping Beauty

Through April 7

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