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 For those familiar with Helen Pickett’s work, you know instantly “Eventide” is her creation (although it is a newer version of the 2008 original).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

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

Boston Ballet presents “The Elo Experience”

Larissa Ponomarenko and Jeff Cirio

An explosive ‘Experience’

Innovation is no just in the dance. • Boston Ballet has set the barre for Spring with “Elo Experience” • This is serious dance

If you’ve never seen his work, it’s time to say hello to Jorma Elo.

Boston Ballet’s resident choreographer since 2005, Elo presents a decade of dance — a compilation of eight works over the past 10 years.

Set mostly to Tchaikovsky, close your eyes and you’ll be relaxed by the tone. Open them, and there’s an explosion of fast, precise, modern movement happening onstage. The energy is unbelievable.

Everything has been calculated and choreographed: the giant light panels; the fashion forward costumes; right down to the slightest flicker of the finger in “Lost by Last,” to the perfect balance of Balanchine and Graham in  “Double Evil” with a classical look and sharp texture and lines. This time around, “Plan to B,” Elo’s big break, spotlights the talents of Whitney Jensen and Sabi Varga. It’s like the two are one they are so in tune with each other’s bodies.

If there are any glitches in the full-length program it’s the absence of live music and the addition of dialogue. Yes, dialogue. Larissa Ponomarenko and Jeffrey Cirio playfully weave in and out  to mesh the pieces together, but  the speaking parts seem disconnected and perhaps too abstract for the audience.

But based purely on the innovation of the dance, this is serious stuff and audiences are lucky to have Jorma Elo call Boston home.