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

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 “Balanchine/Robbins”

Sabi Varga and Whitney Jensen bring “Afternoon of a Faun” to the dance studio.

Keeping them on their feet

Symphony in Three Movements

It seems like every week this spring there’s another dance performance. Coming right off the heels of “Bella Figura,” Boston Ballet leaps into their season finale with a four-work program of American ballet masters George Balanchine and Jerome Robbins.

Balanchine’s “Divertimento No. 15,” set to Mozart, opens the show with patterns and lines that are synonymous with the Balanchine style. The piece includes ensemble and solo sections, but was not the strongest performance on Opening Night. James Whiteside stands out among the rest in this performance. But the men in general, seemed out of sync — perhaps exhausted from a non-stop spring schedule.

“Afternoon of A Faun” infamously known for its Nijinsky choreography, but this interpretation by Robbins is exquisite — taking the faun out of the forest and into the dance studio. Sabi Varga and Whitney Jensen admire their own reflections in the mirror in this stripped down version. It is a delicate, modern take on the narcissistic theme Nijinsky intended.

Antique Epigraphs

The third work of the night, “Antique Epigraphs” showcases eight women in soft-colored long chiffon dresses. Another Robbins piece, “Epigraphs” has never been performed outside of New York City Ballet. Consider it a treat — it’s a rare work that the women of Boston Ballet execute with ease.

Lastly, Balanchine’s “Symphony in Three Movements” is a chorographical masterpiece. Dancers in simple dark leotards commandeer the stage. Lia Cirio bursts onstage in bright pink with confidence and power leading Rie Ichikawa and Misa Kuranaga. This ballet at the end of the program, embraces what makes Boston Ballet a great ballet company — technique, talent and staging.

Boston Ballet present’s ‘Balanchine/Robbins”

Through May 22

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