ballet

REVIEW: Boston Ballet’s ‘Swan Lake’ returns as magnificent as ever

Posted on by The Sleepless Critic

Swan Lake has stood the test of time for generations and it is no mystery why.  Steeped in regal splendor, Swan Lake is a visually-stunning portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest.  Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Viktorina Kapitonova and Lasha Khozashvili in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless music direction by Mischa Santora, Tchaikovsky’s magnificent score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet continues Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 16.   This four-act performance is two hours and 35 minutes, including one 20 minute intermission.  Tickets are going fast.  Click here for more information and tickets.

Von Rothbart in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after noble Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake.  Swan Queen Odette, portrayed with sorrowful fragility by Chyrstyn Fentoy, catches his eye and it is love at first sight.  It soon becomes clear that the swans were once women cursed by cunning sorcerer Von Rothbart, depicted menacingly by Lasha Khozashvili.  Khozashvili is mesmerizing as Rothbart as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Pas de Trois in The Castle Gardens in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Elaborate headpieces, rich furs, flowing and glittering pastel garments, parasols, colorful garlands, exquisitely feathered tutus, plumes and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight and an orange crescent moon by lighting designer Mark Stanley.  Seághan McKay’s evocative and timely projection images embellish the show’s pivotal moments.

Swans rising in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Marked by intricate precision, Mikko Nissinen’s choreography is ballet at its finest.   Kyra Muttilainen and Haley Schwan are visually-stunning rising gracefully out of the mist.  A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe and identical strokes.  The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist.  It still stands as one of the beautiful displays of ballet I have ever seen.

Perfect precision in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

In the castle gardens, dancers whimsically gather together in a feast dance toasting with goblets and joyfully present the prince with rich garlands.  My’Kal Stromile is a highlight as Seigfried’s Tutor, marking this joyous occasion with amicable exchanges with Prince Seigfried and amusing moments including stirring after falling asleep during the festivities. While the castle garden illustrates a rural, picturesque and almost dreamlike setting, an equally opulent crystal ballroom with vast ceilings lit in red later depict a livelier surroundings as trumpets sound and a grand and dynamic lineup of guests gather to charm the kingdom including princesses, Czardas, and Neapolitans.

Prince Seigfried and Odile in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Patrick Yocum shines as Prince Siegfried evoking loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance.  Light and dark in Tchaikovsky’s Swan Lake is demonstrated brilliantly by Fentroy in a complex dual role.  Fentroy glides and seems to float delicately across the stage as guarded Odette, her vigilant moments, statuesque beauty and downcast demeanor enrich her mysterious and chaste presence.  Tingling violin resonates in Tchaikovsky’s emotive score as Fentroy and Yocum share a hesitant and sweet encounter.  He tenderly lifts and embraces her at every turn.  With sharp and bold movements, Fentroy also masters her dual role as mysterious and confident Odile, cleverly manipulating Odette’s movements with a soft smile.  At one point, Yocum’s Prince Seigfried attempts to grasps her hand as he did with Odette, but Odile coyly pulls her hand away.  Enthralled, Yocum takes her hand playfully and yet, almost possessively in an exhilarating dance.    

Viktorina Kapitonova and Lasha Khozashvili in Mikko Nissinen’s Swan Lake; Photo by Rosalie O’Connor, courtesy of Boston Ballet

Swan Lake remains a mesmerizing and beloved tale of tender grace and passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s 2010 Academy award-winning Black Swan.  Mikko Nissinen’s Swan Lake is a dance celebration amid resplendent visuals and boasting a riveting classic tale for an epic and unforgettable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 16.  Tickets are going fast. Click here for more information and tickets.

REVIEW:  From smooth to spirited, Malpaso Dance Company, presented by Celebrity Series of Boston, lights up a rhythmic nation

Posted on by The Sleepless Critic

Malpaso Dance Company brings vibrancy to a crescendo saving the best for last.

Artistically directed by Osnel Delgado and co-founded by Delgado and Fernando Sáez, Malpaso Dance Company delivers a multi-faceted performance in three distinct pieces infusing jazz and a variety of international rhythms to create an upbeat, smooth, comical, and lively look at the many international cultures infused into Cuban dance. 

Celebrity Series of Boston presented Malpaso Dance Company for three exclusive performances during one weekend only from January 17 to 18 live and in person at Emerson Paramount Center in Boston Massachusetts and is currently on tour.  This energetic and layered production ran approximately 90 minutes with one intermission.  Click here for more information, here for more on Celebrity Series of Boston’s upcoming events and here to find out where is Malpaso Dance Company’s next tour destination.

Malpaso Dance Company’s Osnel Delgado, Esteban Aguilar, Esven Gonzalez in Ephrat Asherie’s Flor…y Ando. PHOTO by Robert Torres

Simply staged and fueled by Manuel Da Silva’s moody haze and filtered spotlight, the production kicks off to a smooth start with Ephrat Asherie’s dynamic choreography featuring dance trio Esteban Aguilar, Osnel Delgado, and Esven González in street clothes and sneakers as they interconnect nimbly to Aldo López Gavilán ‘s piano-infused and ballet-inspired jazz rhythms. Floor..y Ando is a fresh, brief and low key piece offering a building transition with the pieces that follow which gradually transcends into rollicking, drumming, and pulsing rhythms.

Malpaso Dance Company in Ronald K. Brown’s Why You Follow PHOTO by Robert Torres

Exploring a wide spectrum of cultures, Why You Follow is a long form dance by Ronald K. Brown that delves into upbeat, rolling and mellifluous rhythms from subtle to joyous.  Clifton Taylor’s warm and multi-colored lighting featuring red embellished tones boasts an inviting quality with each step.   Featuring a black backdrop and street clothes embossed by a red flourish, the full company joins together for a combination of freestyle, in sync, and competing moves clapping, sliding, leaping and spinning in bare feet to an array of memorable and catchy rhythms that span from music artists Zap Mama to The Heavy Quarterz.  Breaking off into different groups, these infectious and groovy rhythms make a statement while bringing a brighter spring into each well crafted step by Esteban Aguilar, Daileidys Carrazana, Osnel Delgado, Dayron Dominguez, Esven González, Liz Marian Lorenzo, Laura Rodríguez, Iliana Solis, Jennifer Suárez Ramos, Carlos Valladares, and Greta Yero.

Malpaso Dance Company members Carlos Valladares, Laura Rodriguez, Esven Gonzalez in Osnel Delgado’s A Dancing Island. PHOTO by Robert Torres

Each individual piece builds in mood and intensity and A Dancing Island serves as a grand finale with a bolder, playful, energetic and theatrical performance steeped in horn-infused rhythms and island sounds.  Featuring a variety of warm, flirtatious and subtle comedic moments, A Dancing Island rides a string of lighthearted emotion demonstrated in trembling knees as well as fluttering, winding, and galloping dance moves.  Featuring the full cast, this grand finale mixes the traditional with the contemporary in a string of sporadic humor, tender moments, Osnel Delgado’s tight choreography and playful intonations.  Manuel Da Silva’s animated lighting design sparks to the rhythm while transforming into luminous blues, pinks, and reds.  Featuring high socks, suspenders, and flowing skirts included in Guido Gali’s vibrant costume design, A Dancing Island delivers breezy charm in traditional Cuban dances to piano and horn-infused rhythms which includes spoken word and silent dance.

Malpaso Dance Company members Esven Gonzalez, Daile Carrazana in Osnel Delgado’s A Dancing Island. PHOTO by Robert Torres

From subtle to catchy to exuberant, Malpaso Dance Company can have moments of repetition, but more often delivers uplifting charm and athletic precision  to vivid and compelling cultural rhythms.

Malpaso Dance Company member l-r Iliana Solis, Liz Marian Rodriguez, Laura Rodriguez, Dayron Dominguez and Daile Carrazana in Osnel Delgado’s A Dancing Island. PHOTO by Robert Torres

Celebrity Series of Boston presented Malpaso Dance Company for three exclusive performances during one weekend only from January 17 to 18 live and in person at Emerson Paramount Center in Boston Massachusetts.  Click here for more information, here for more on Celebrity Series of Boston’s upcoming events and here to find out where is Malpaso Dance Company’s next tour destination.

REVIEW: The Martha Graham Dance Company, presented by Celebrity Series of Boston, demonstrates its lasting impact

Posted on by The Sleepless Critic

Americana played a significant role in a number of meaningful dance performances as Celebrity Series of Boston presented Martha Graham Dance Company for two exclusive performances from Friday, November 22 to Saturday, November 23 live and in person at the Cutler Majestic Theatre in Boston, Massachusetts.  The show ran 1 hour 40 minutes with one intermission.  Click here for more information and where Martha Graham Dance Company will perform next nearing its centennial year and here for Celebrity Series of Boston’s upcoming events.

Martha Graham Dance Company in Graham’s “Dark Meadow Suite” PHOTO by Robert Torres for Celebrity Series of Boston

Exploring dance through various generations, The Martha Graham Dance Company delivered an intriguing mix of traditional and contemporary performances infusing an array of music genres including classical and tambourine-tinged Americana through storytelling and vivid and symbolic imagery.  From comical to sensual to bold, this distinct selection of dance performances shared some common themes while making a rich and unique impression during each of the four performances.

A leader in the Modernist movement, Martha Graham Company’s Dark Meadow Suite explores a Mexican feel featuring a burnt orange landscape lit by Nick Hung and dancers are adorned in matching burnt orange, black and white layered gowns.  Carlos Chávez’s oboe and fiddle-infused rhythms brings poignancy to the music’s powerful tempo.  It is a sweeping and sensual piece boasted by sharp and sweeping movements as dancers entwine and lean on each other in an elegant trio of pas de deux.

Martha Graham Dance Company in Graham’s “Dark Meadow Suite” PHOTO by Robert Torres for Celebrity Series of Boston jpg

Lloyd Knight and Anne Souder’s pas de deux evokes a flourishing intensity hastening and pulsing in unison as the fiddle grinds and they both gazed upward.  Lloyd’s solo is full of athletic charisma in sharp and carefully executed movements and occasionally dancing on his heels.

Agnes DeMille’s Rodeo combines bluegrass, tap and folk in an upbeat and exuberant piece by Cecil B. DeMille’s niece that first made its debut in 1942.  A famed dancer and choreographer, De Mille demonstrates her multifaceted skills not only through this beautifully choreographed ballet, but through compelling storytelling that could have easily translated to film as it does onstage.

Martha Graham Dance Company in Agnes de Mille’s “Rodeo” PHOTO by Robert Torres for Celebrity Series of Boston

Set in various western settings including a prairie, Rodeo focuses on a cowgirl captivatingly portrayed by Laurel Dally Smith who bursts onto the scene galloping with lively authenticity and endearing comic charm marching to the beat of her own drum.  Dressed as a cowboy and remarkably expressive, the cowgirl finds herself not quite fitting in anywhere.  Smith’s confidence and rambunctiousness seems to come off awkwardly with the ladies and not quite acceptable to the cowboys.  Smith’s self-assured individuality displays her earnestness and determination yet leads her to daydream in isolation.

Aaron Copland’s jubilant score and heart thumping rhythms with a country twang keeps this short tale lighthearted as Smith brings a sympathetic and fanciful nature to this role.  Surrounded by happy couples, Smith is taken by the romance of it all and displays not an ounce of jealousy, but soaking in her surroundings as she craves to belong.

Martha Graham Dance Company in Agnes de Mille’s “Rodeo” PHOTO by Robert Torres for Celebrity Series of Boston

The complementary array of Oana Botez’s pastel colored western attire and period pieces embroidered in floral patterns with distinct hats beautifully stand out against each of Beowulf Boritt’s picturesque settings.  Accented by clapping and jubilant dance, Lloyd Knight’s sporadic instructions to the beat lead the dance as Square Dance Caller. They are the only spoken words in the piece and lends to the carefree and romantic atmosphere prevalent in this performance.  De Mille creates a dreamlike and fanciful world as the cowboys flirt and skirt chase in lively dance routines that include couples partnering in sweeping pas de deux.

Richard Villaverde and the Martha Graham Dance Company in Agnes de Mille’s “Rodeo” PHOTO by Robert Torres for Celebrity Series of Boston

Richard Villaverde as The Champion Roper not only delivers some sweet scenes with Smith, but an excellent tap dancing solo to heart thumping rhythms.

Rodeo’s conclusion is unexpected and somewhat indicative of the time the piece was performed.  It is a comical, heartfelt and romantic piece sharing some similarities to De Mille’s artistry in Oklahoma while it explores discovering your place in the world.  

Martha Graham’s Lamentation proves that a piece does not need to be long to have a lasting impact.  Originally performed in 1930 and infused with fiddle-infused rhythms by Zoltán Kodály, So Young An depicts powerlessness and grief perfectly and poignantly barefoot and bogged down by her clothing in limiting dress and engulfed in its masses and yet reaching out. 

So Young An in Martha Graham’s “Lamentation” PHOTO by Robert Torres for Celebrity Series of Boston

When one is speechless, say it through art.  We the People, choreographed with a catchy country tinge by Jamar Roberts this year, makes powerful statements in various segments that kick off in dance before the music begins.  At once playful, then winding, but consistently commanding the stage, We the People is a powerful array of tight, unified and symbolic chorography on a black backdrop.  In Karen Young’s denim-inspired attire, the dancers seemingly get swept up in the music as they twist, stomp, and slice the air to infectious tambourine-tinged and fiddle-induced rhythms.  Bold and tenacious, performers clap and spin to a driving beat creating vivid imagery and making a lasting impact about the modern world.

Martha Graham Dance Company in Jamar Roberts’ “We The People” PHOTO by Robert Torres for Celebrity Series of Boston

Celebrity Series of Boston presented Martha Graham Dance Company for two exclusive performances from Friday, November 22 to Saturday, November 23 live and in person at Cutler Majestic Theatre in Boston, Massachusetts.  Click here for more information and where Martha Graham Dance Company will perform next nearing its centennial year and here for Celebrity Series of Boston’s upcoming events.

REVIEW:  Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo.  An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world.  Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance.  In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable.  Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm.  It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance.  Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background.  Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals.  From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.    

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron.  However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill.  Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother.  They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck.  Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives.  It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me. 

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance.  Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up.  It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad.  Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight!  Get swept up in this beautiful musical as soon as you can.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Confronting the elements in Annas-Lee Design and Graham Cole’s visionary ‘Origami Night’

Posted on by The Sleepless Critic

A lithe dancer, strong local imagery, a powerful narrator and an immersive stage briefly come together in a compact space for a memorable experience.

Annas-Lee Design and Graham Cole continue ‘Origami Night:  a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4.  This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round.  Click here for more information and for tickets.

Origami Night continues through August 4. Photo courtesy of Annas-Lee Design and Graham Cole

Meditative, enchanting, and complex, Origami Night:  a choreopoem is an intense experience unlike anything I have seen before.  It delves into powerful themes such as grief, war, passion, trauma, and sheer joy in a unique manner that is constantly evolving as the production journeys through a woman’s life.  At first, dancer Elenaluisa Alvarez performs an interpretive dance to Annas-Lee’s dynamic sound design and Boston-based author and poet Pamela Annas’s contemplative work narrated rhythmically by Luz Nicolás, but Alvarez has a mind of her own as does her surroundings.  It is an unpredictable piece as Christopher Annas-Lee’s thunderous, alarming, tumultuous, dreamlike, soothing, and flashing multicolor lighting becomes its own character.  The lighting leads the dancer which is at times funny and unique, but that will change as well.  Red circle lighting where the narrator mentions red heels is a nice touch as well as the notable vibrations depicted by Annas-Lee. 

Elenaluisa Alvarez in Graham Cole; “Origami Night”

Fueled by Graham Cole’s emotive, symbolic and at times humorous and passionate choreography, Alvarez is coy, scowls, flaunts and it is easy to imagine her skipping along a windswept aqua coast as it is to visualize her charming playfulness during a dance contest to big band rhythms.  Virginia Belt’s loose and symbolic clothing helps to maintain a dreamlike atmosphere as Alvarez spins elegantly and then at once contorts in tight movements from stress and exhaustion.

Elenaluisa Alvarez in Graham Cole; “Origami Night”

Origami Night is a lot to take in and although printing the verses in the background might have been helpful, it might have also been distracting with the activity coinciding onstage.  The narrator is compelling with a balanced presentation where one does not get lost in the dance over the narration.  However, the captivating lighting may ensnare you in places that lead to its intriguing conclusion.

Graham Cole; “Origami Night”

Annas-Lee Design and Graham Cole continue ‘Origami Night:  a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4.  This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round.  Click here for more information and for tickets.

REVIEW:  Boston Ballet ‘Spring Experience’ an extraordinary awakening

Posted on by The Sleepless Critic

Dancers seemingly lie dormant, fires burn, a multi-limbed creation, and athletic feats from a Barre to calypso-inspired rhythms is just a portion of the imagery demonstrated in Boston Ballet’s 60th season closer, Spring Experience.   It embraces the eclectic and the unusual while ever bringing ballet to another level.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, May 19.  The production is approximately two hours and 15 minutes with two intermissions.  Click here for more information and for tickets.

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

A suspenseful world premiere, a carefully orchestrated Barre experience fueled by James Blake’s innovative works, and a provocative fan favorite create an exceptionally curious and intense set of performances. 

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

The Space Between builds a steady anticipation through its urgent and haunting piano-infused rhythms as dancers lie dormant or may be in sleeping state.  As each dancer comes to life and two perform an elegant pas de deux, Choreographer Ken Ossola’s highlights the speed and agility of the dancers in a combination of freestyle and synchronized movements to horn-infused rhythms enclosed on a sloped and curved midnight blue landscape, part of Benjamin Phillips’s multi-color schemed set design brightened by Brandon Stirling Baker’s transformative headlights.  Women dancers appear defiant as they prowl, jostle and swing with the push and pull of being navigated by men to the electronic hissing of Mischa Santora’s electronic rhythms.  Adorned in Lisa Dezmelyk’s translucent costumes in floral and shimmering patterns, the group leaps and align together which includes María Álvarez, Lia Cirio, Chyrstyn Fentroy, Seo Hye Han, Abigail Merlis, Chisako Oga, Haley Schwan, Jeffrey Cirio, Tyson Ali Clark, Paul Craig, Daniel Durrett, John Lam, Daniel Rubin, Gearóid Solan, Schuyler Wijsen, and Patrick Yocum.  The Space Between culminates into a grand finale with a new moving creation.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

In Blake Works III (The Barre Project), the Barre highlights this performance steeped in synthetic vocal rhythms as María Álvarez , Graham Johns, Lia Cirio, Sangmin Lee, Ji Young Chae, Gearóid Solan, and Tyson Ali Clark showcase their contact with it.  Simply staged with a black back drop and Barre, María Álvarez and Graham Johns perform a playful and lively pas de deux into lifts, twists, and tight leaps.  William Forsythe’s urgent and slinky choreography navigate the zip, zing and hip hop tempo of James Blake’s catchy tunes showcasing each dancer’s athletic prowess gripping the Barre.  A particular highlight is moving to the tender and haunting rhythms of James Blake’s romantic Lullaby for the Insomniac and 200 Press.  Dancers demonstrate tight and urgent leaps in funky rhythms and at what point, letting the arms do the walking on the Barre at fascinating angles in an edgy and eclectic display.

Ji Young Chae in William Forsythe’s Blake Works III; photo by Liza Voll; courtesy of Boston Ballet

The final piece is still one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Jiří Kylián‘s Bella Figura Photo by Liza Voll; courtesy of Boston Ballet

 Jiří Kylián and Ken Ossola’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow.  In many ways, it bucks tradition as the dancers float and slide between closing curtains as one dancer, topless, wraps herself in only a black stage curtain.  The curtain seems to have a mind of its own as it frames, shrinks, and chases the dancers.  Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away.  As fires burn, Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements.   It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect.  In gathering rich red skirts which is part of Joke Visser’s bold costume design, topless men and women looking the same glide along the stage.  It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet in Jiří Kylián’s Bella Figura; photo by Rosalie O’Connor; courtesy of Boston Ballet

 The Boston Ballet presents Spring Experience live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, May 19.  The production is approximately two hours and 15 minutes with two intermissions.  Click here for more information and for tickets.

REVIEW: New England Dance Ensemble presents evocative ‘A Child’s View of the Holocaust’

Posted on by The Sleepless Critic

New England Dance Ensemble founder Barbara Mullen knows that if people do not know history, they are doomed to repeat it.

On Sunday, April 16, the New England Dance Ensemble (NEDE) performed A Child’s View of the Holocaust at Temple Beth Abraham in Nashua, NH.  The show was free and a benefit for the nonprofit organization. The temple generously served lunch prior to the production.  This ballet was 40 minutes with no intermission followed by a brief Q and A session and the show is currently streaming online.   The audience was encouraged to pause in quiet reflection rather than applaud.  Click here for more information.

A Child’s View of the Holocaust presented by New England Dance Ensemble Photo credit to NEDE

Barbara Mullen, NEDE’s Artistic Director, first produced A Child’s View of the Holocaust in 1990 and it has become an educational tool for thousands of audiences in its over 30 year history.  Its purpose is to memorialize the youngest victims of the Holocaust to ensure society will never forget and these horrors will not ever be repeated.  Few survived to tell their story, but relatives of a few of the victims were present in the audience on April 16.

Set in 1939, A Child’s View of the Holocaust is a depiction of how insidiously and methodically the new Nazi regime darkened the world and lured millions of victims.  One million out of six million victims of the holocaust were children.  It shows the progression of once innocent school children in braids and plaids as they wave at their friends shortly before a new and harrowing reality unfolds.  The panic, the shame, the indignation, and the implied brutality are difficult to watch, but the discovery and final understanding is the most poignant piece in the production.

The Nazis, led by Anya Petravicz, snake like a menacing train.  Stiff, militaristic, and linear, the dancers invade with expressions vacant and unyielding.  Coordinated by ballet master Andrew Matte, the production has a wealth of physical engagement that implies violence, but is no less powerful. 

Students in ‘A Child’s View of the Holocaust’ Photo credit to NEDE

A Child’s View of the Holocaust is a collaborative and stirring production delivered with careful grace, skill, and sensitivity by these young performers.  However, Harrison Conellier as the Holocaust’s first victim and Ipeksu Yucel as a Jewish mother offer powerful performances in evocative surprise, anger, and anguish as they are forced into impossible decisions in this journey to find light in the depths of loss.

New England Dance Ensemble continues to offer this important production to different institutions for educational purposes.  NEDE will next present The Lorax followed by The Nutcracker in the fall.  Click here for more information.

REVIEW:  Boston Ballet’s virtual ‘The Gift’ spins retro Nutcracker gold

Posted on by The Sleepless Critic

If there wasn’t enough time to see The Nutcracker over the holidays or even if you have and would like to see more, the Boston Ballet is offering a spin on The Nutcracker Duke Ellington-style choreographed by Boston Ballet dancers right from your home.

With special commentary by jazz-enthusiast Eric Jackson nicknamed the ‘Dean of Boston Jazz Radio’ and host of GBH’s Eric in the Evening who rewinds the clock to take a peek at the inspiration behind Ellington’s timeless, progressive Nutcracker Suite, Boston Ballet along with Boston Ballet II and Boston Ballet School post graduates choreograph a lively program from 2020 that highlights and spins some of the Nutcracker’s best moments with their own vibe.

Viktorina Kapitonova and Tigran Mkrtchyan in The Gift; photo by Brooke Trisolini; courtesy of Boston Ballet

The Gift is a dynamic program where each dancer seems they are being moved by the music more than moving to the music.  As much as I am a fan of Boston Ballet’s classic works, there is something even more thrilling when it is infused with upbeat and contemporary flavor. 

From sleek and sophisticated flair to casual and carefree fun, Boston Ballet presents this virtual holiday treat The Gift through January 9 which includes behind the scenes footage and runs approximately 50 minutes.  Click here for more information and access to the show.

The exuberance and sparkling elegance of Viktorina Kapitonova and Tigran Mktrchyan accompanied by pianist Alex Foaksman bring to life the Snow Queen and King’s triumphant Pas de Deux.  All in sepia and crème, they move with a dreamlike sway culminating in a joyful and fanciful reunion.  Some other highlights within the striking variety of dances from Duke Ellington’s upbeat and catchy Nutcracker suite include Overture with choreography by Chyrstyn Fentroy as the number explores the mystery behind The Gift as a package hangs overhead and the dancers gradually get swept away by the song.  Toot Tootie Toot or Dance of the Reed Pipes with choreography by Gabriel Lorena is a brief sashaying escapade as dancers in flowing skirts strut and prance to Ellington’s light and airy rhythms enhanced by an intricate and memorable collective pose.  Peanut Brittle Brigade with chorography by Haley Schwan infuses swing and other dance styles to the beat of Ellington’s bluesy composition.

Boston Ballet in The Gift; photo by Brooke Trisolini; courtesy of Boston Ballet

Arabesque cookie or Arabian Dance with chorography by Haley Schwan, John Lam, Chyrstyn Fentroy, Paul Craig, and My’Kal Stromile, has a bustling rhythm and a retro feel as the number opens with a soloist’s fancy footwork.  It has urgency, poise, and athleticism as each soloist slides in shadow to a transforming color backdrop.  The Voga Vouty or Russian dance with choreography by John Lam showcases savvy and sophistication steeped in black and white as they perform a striking sequence in a spotlight. Chinoserie or Chinese Dance with choreography by Arianna Hughlett is full of mischievous and lighthearted fun as dancers creep and freestyle to the rhythm of Ellington’s chiming beat parting and uniting in shadow.

The finale culminates in a beloved Boston Ballet location worth waiting for.

The Boston Ballet’s virtual holiday treat The Gift continues through January 9 which includes behind the scenes footage.  Click here for more information and access to the show.

REVIEW: Tony Williams’ ‘Urban Nutcracker’ makes a vivid and engaging return to the stage for its 20th anniversary

Posted on by The Sleepless Critic

The thrill is back. 

For an interactive and engaging show like Urban Nutcracker, experiencing it online last year on its 19th anniversary offered a glimpse into its dazzling style, multi-genre music, and the unique perspective within a classic tale. 

However, sitting in the Boch Center’s Shubert Theatre as Urban Nutcracker’s dynamic orchestra traveled down the aisles performing their horn-infused, big band sound on instruments stringed in colorful lights created an authentically immersive experience.  This year marks Urban Nutcracker’s 20th anniversary live onstage, an innovative show that not only pays tribute to Tchaikovsky’s classic holiday tale, but to the beauty and spirit of Boston.

Ruth Whitney in Urban Nutcracker Phot credit to Peter Paradise

Featuring the City Ballet of Boston, The Brooklyn Ballet, Phunk Phenomenon Dance Complex, the Northeast School of Ballet, and Revels, Tony Williams Dance Center’s Urban Nutcracker is available for a limited engagement continuing through December 22 at the Boch Center Shubert Theatre in Boston, Massachusetts.  The show is approximately 2 hours with one 15 minute intermission. Click here to for more information and for further details about the Tony Williams Dance Center. 

Click here for an interview with Tony Williams about his dance center and how the Urban Nutcracker began.

Prefaced by festive carols from the likes of Frank Sinatra, Judy Garland, and Nat King Cole, the enthusiastic crowd was more than ready to experience The Urban Nutcracker live and in person again and from the spontaneous cheers from the crowd, showed no sign of disappointment. 

As the band settles inside a replica of the Hatch Shell above the stage amid Janie Howland’s amazing scenic design, identifiable landmarks such as the CITGO sign, Massachusetts State House, Green Monster, and Downtown Boston’s Custom House Clock Tower  (which comes alive upon closer examination) are set strategically on Boston’s city skyline.  The orchestra plays above the performers, delivering rich and funky rhythms inspired by a variety of music styles that match the vast array of festive, eye-popping costumes by Dustin Todd Rennels as cultures from around the world take the stage once more.

Ruth Whitney and Ronnie Thomas Photo credit to Peter Paradise

When Tchaikovsky, Duke Ellington, and David Berger come together for this eclectic score musically directed by Bill Whitney, it takes this timeless tale to the next level.  Urban Nutcracker delivers a modern, sparkling, family-friendly vibe which is depicted in the show’s rich colors as a chic and contemporary apartment with a distinctive tree, glimmering cushions, and large and festive bulbs covering the windows is revealed.

What is particularly noticeable this year is the gathering.  The variety of children and adults dancing and playing with their new toys as a group come together for an amazing photo with a lengthy selfie stick.  The sheer joy of a houseful of children and adults enjoying each other’s company has been something dearly missed.

Selfie stick Photo credit to Peter Paradise

Horn infused jazz, hip hop, and the blues are just a few of the genres explored in this tradition meets contemporary Urban Nutcracker.  It was amazing to watch the adults dance with elements of swing and ballet integrated into their steps.

Urban Nutcracker depicts all the classic scenes from Tchikovsky’s production with an inviting twist featuring a diverse, multi-talented cast.  In a magnificent coat and top hat, Gianni Di Marco has more than one trick up his sleeve as captivating Drosselmeyer.  He not only wows adults and children alike with tricks and presents, but his sweet interactions with Ruby including one point as the duo watch from the balcony provide some of Urban Nutcracker’s most memorable moments.

Drosselmeyer does his magic as children look on. Photo credit to Peter Paradise

Khalid Hill returns and again masters multiple roles including a catchy break dancing, tap and toe tapping routine on the city streets as dancers synchronize beats on trash cans.  Ronnie Thomas is excellent as a wiry soldier doll in bright orange and purple as he bends in incredible shapes around the stage as well in an exciting rat battle as the Nutcracker Prince.

Kyre Ambrose and Sophia Garufi as rats and Ronnie-Thomas as Nutcracker Prince Photo credit to Peter Paradise Michaels
Ronnie Thomas as Soldier Photo credit to Peter Paradise Michaels
The Rats Photo credit to Peter Paradise Michaels

The Snow Queen and King, portrayed by Ruth Bronwen-Whitney and Ronnie Thomas, are sophisticated and elegant gliding in a snow-covered landscape of the Boston Common surrounded by luminous snowflake dancers.  Thomas also delivers a visually-rich and memorable performance in a duet with Ruth Bronwen-Whitney as Arabian dancers.  Spain’s spectacular costumes glitter in a flowing flamenco dance as a bull rider dominates the background while China’s dancers are bursting with color in a spinning fan dance.

Kirsten Glaser leads Spain dance Photo cred to Peter Paradise Michaels.

The Sugar Plum Fairy, performed by Kseniya Melyukhina and Ruth Bronwen-Whitney, has a more traditional look in lilac this year, but nonetheless stands out for a beautiful, upbeat solo and a later performance with Gianni Di Marco during a jazz-infused Nutcracker Suite. 

Kseniya Melyukhina in Urban Nutcracker Photo credit Peter Paradise

Several lighthearted performances return to the stage including the athletic hula hoop dancers in Revere Beach with back flips included, a lively and humorous performance featuring skilled, tap-dancing workmen in hardhats and paint-splotched overalls, but a favorite performance of Urban Nutcracker’s answer to Make Way for Ducklings is endearing and heartwarming featuring Michael Oliver Slayton as a tap dancing cop and an adorable, yellow feathered troupe of ducklings led by Simone Wolfhorst.

Urban Nutcracker still offers something for everyone with a unique twist on a classic while still reminding audiences what is truly important this time of year.  It is a unique and exciting Boston tribute with surprises along the way.

Tony Williams Dance Center’s Urban Nutcracker continues through December 22. Click here for more information, tickets, and how to support this organization.

REVIEW:  Boston Ballet off to a brilliant ‘reSTART’

Posted on by The Sleepless Critic

Boston, it’s time to reSTART.

Embarking on a journey from beloved local landmarks to overseas to inside the Boston Ballet studios, Boston Ballet’s reSTART amps up the excitement of their highly-anticipated return live onstage in time for the holidays.

With a versatile lineup that includes recently filmed jazz-infused contemporary dance, classic tales, traditional dance, and a season preview as well as a full range of costumes including street wear by Yin Yue and Jens Jacob Worsaae and Judanna Lynn’s spectacular royal fashion, Boston Ballet’s virtual reSTART, available through November 7, delivers an elegant and dynamic show for dance lovers everywhere.  Click here for more information and for Boston Ballet’s full season.

Boston Ballet in Yin Yue’s A Common Movement, photo by Brooke Trisolini; courtesy of Boston Ballet

Over the past year and a half, the renowned Boston Ballet has become much more than a force onstage.  It has been inspiring to see this sophisticated and athletic company in various settings, using creative and unconventional methods to evoke their passion for their extraordinary work.  Lighthearted, romantic, and refreshing, Boston Ballet’s season premiere reSTART demonstrates a brilliant new season to come.

It all starts right in the city of Boston.  Renowned contemporary choreographer Yin Yue delivers jazz-infused spirit into the Boston Common as fifty dancers brighten this beloved October landscape in A Common Movement.  In comfortable and modest attire, the dancers come together in a joyful and sweeping dance as horns blare creating a vintage vibe under a peerless sun.  With catchy tunes performed by Quincy Jones and Alice Coltrane, these charismatic dancers take over the Common with a swift beat in a smooth, mischievous, and calibrated performance enhanced by a slick dance by Maria Alvarez, Louise Hautefeuille, Lauren Herfindahl, Sangmin Lee, Ao Wang, and Patrick Yocum on the Boston Public Garden Foot Bridge.

Haley Schwan and My’Kal Stromile in Yin Yue’s A Common Movement, photo by Brooke Trisolini; courtesy of Boston Ballet

Clever choreography and digital technology bring together pairs Ji Young Chae and Tyson Clark and Haley Schwan and My’kal Stromile in an unexpected way for a fascinating performance in the Public Garden.

Boston Ballet delves into a classic tale with fantasy flair featuring Soo-bin Lee and SeokJoo Kim, a stunning duo as they perform a deeply romantic Pas de Deux in an excerpt from Romeo and Juliet.   Angelically adorned in a halo of ribbons and flowing gown by Song Bohwa and Hanna Kim, Lee is a vision in an idealistic dark forest.  Despite a hint of foreboding, Prokofiev’s score is uplifting and glorious as Lee and Kim enchant each other building into bursts of joy, seeming to move as one into an embrace.

Addie Tapp and Lasha Khozashvili in Jorma Elo’s Ruth’s Dance, photo by Brooke Trisolini; courtesy of Boston Ballet

From classic tale to classic dance, another highlight of reSTART features Bach’s soothing, piano-driven rhythms as Addie Tapp and Lasha Khozahvili perform a tender and delicate dance as Khozahvili quite literally sweeps Tapp off her feet.  

Muses take on full form as Paul Arrais beguiles inspiration as bold and fresh faced Apollo in a pivotal classic work which first brought choreographer Balanchine and composer Stravinsky together.  What is particularly captivating about Balanchine’s choreography is the mechanical synchronization between muses Lia Cirio as majestic Terpsichore, Viktorina Kapitonova as mysterious and foreboding Calliope, and Chryrstyn Fentroy as jubilant and charismatic Polyhymnia.  Their dance is meticulously precise as they rhythmically pivot in unison, at one point forming a beautiful silhouette until each have a chance to portray their own distinct chemistry with Arrais’s mesmerizing Apollo.  They join together, hinging onto each other and one might wonder who is in control.

The Boston Ballet kicks off their new season with virtual reSTART continuing through Sunday, November 7.  Click here for more information and a closer look at Boston Ballet’s new season.