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REVIEW: Boston Lyric Opera’s ‘Madama Butterfly’ a mesmerizing and surprising metamorphosis

Posted on September 27, 2023 by The Sleepless Critic

‘I gave my tears into the earth, now it must give me back flowers.’

This is just a hint of Puccini’s masterful lyrics that encapsulates profound love and loss in Puccini’s epic classic 1904 Italian libretto Madama Butterfly presented live and in person at Emerson Colonial Theatre through Sunday, September 24. This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1. Click here for more information and more about Boston Lyric Opera’s season.

After their onstage wedding Butterfly’s Karen Chia-Ling Ho and Pinkerton’s Dominick Chenes love spills out onto the San Francisco streets PHOTO BY KEN YOTSUKURA

With heartrending direction by Phil Chan and stirring choreography by Michael Sakamoto, Madama Butterfly was delivered with an altered setting and contemporary flair over a period of time from 1941 to 1983. Puccini’s Madama Butterfly is a searing and brilliant love story and the source material for the Tony award-winning Broadway musical, Miss Saigon. This time, Madama Butterfly’s settings ranged from Hawaii to San Francisco to Arizona. Jeanette Oi-Suk Yew’s multifaceted lighting not only reflected the shadows and watercolor reflection in a lively nightclub but the rich purple and rose of the horizon at daybreak as moving set pieces transported the audience to contrasting settings. Featuring multicolor fans, contemporary yellow crowns, and regal military uniforms, Sara Ryung Clement’s distinctive, silky, and shimmering costumes in bursting color embellished the festivities of the Club Shangri-La in Chinatown in San Francisco, where Navy officer B. F. Pinkerton, depicted with enigmatic sweetness by tenor Dominick Chenes and soprano Karen Chia-Ling Ho as naïve, proud, bubbly and devoted Butterfly or Cio-Cio San meet in 1941. It will be a night they never forget.

Uncle Bonze Hyungjin Son center makes a shocking revelation about Butterfly Karen Chia-Ling Ho in BLOs new production of MADAMA-BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s production of Madama Butterfly had the audience gripped in a full range of emotions as the eye level live orchestra led by Annie Rabbat articulated Puccini’s moving array of arias punctuated by magnificent drums. Boasting angelic vocals, Chia- Ling Ho blossomed as Madama Butterfly, her coy yet fragile depiction poignant and buoyant as she navigated through a plethora of challenges during World War II and Pearl Harbor. Chenes and Chia-Ling had captivating chemistry only enriched by powerful vocals and enthralling dialogue. Mezzo soprano Alice Chung at first offered an understated performance as steadfast and loyal Suzuki, but Chung’s depiction gradually culminated into one of the most endearing characters of the production alongside Troy Cook as compassionate and protective Sharpless. Baritone Junhan Choi had a reduced role as Commissioner/Registrar in Madama Butterfly compared to the engineer’s meaty role in Miss Saigon, but Choi left his mark during each of his memorable scenes in a charismatic portrayal of dark humor and dastardly wit.

Suzuki Alice Chung l. laments the news Pinkerton Dominick Chenes brings with him in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Michael Sakamoto’s dynamic choreography ranged from delicate to fitful, most notably as Butterfly took the stage in a traditional dance with the Club Shangri-La performers and later in a stirring dance featuring Cassie Wang. Wang’s symbolic performance was peculiar, heartfelt, foreboding and so riveting that it may remain ingrained into the psyche long after the performance has ended.

During a visit from Officer Sharpless Troy Cook r. Butterfly Karen Chia-Ling Ho center reveals a secret in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s Madama Butterfly took some liberties from the classic libretto that dealt in immigration, bigotry, and patriotism in a surprising array of twists and turns and proved to be a production that will not soon be forgotten.

Boston Lyric Opera presented Puccini’s Madama Butterfly through Sunday, September 24 live and in person at Emerson Colonial Theatre in Boston, Massachusetts. This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1. Click here for more information and more about Boston Lyric Opera’s season.

REVIEW: In honor of Boston’s Old North Church’s tricentennial, Plays in Place rewinds the clock for tense and engrossing ‘Revolution’s Edge’

Posted on August 8, 2023 by The Sleepless Critic

After 300 years, Boston’s Old North Church has stood through some of the most exciting and harrowing moments in our nation’s history. The Old North Church’s clock has consistently kept time since 1726. Playwright Patrick Gabridge pens an original play that explores a particularly intense dialogue set on the eve of the Revolutionary War in 1775. Plays in Place rewinds the clock to 1775 where three individuals contemplate their fates as tensions escalate to panic, gradually making it impossible not to take action.

Nathan Johnson photo-by Nile Scott Studios

In honor of the Old North Church’s 300^th anniversary and directed skillfully by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge, live and in person at The Old North Church in Boston Massachusetts on select days through September 19. The production is 45 minutes with no intermission and the box pews provide an immersive view. It is an educational production that is appropriate for families. Click here for more information and for tickets.

Brooks Reeves Photo by Nile Scott Studios

From colorful waistcoats to pristine linen shirts to proper vestments, Christina Beam’s elegantly detailed costumes are perfectly authentic to its era and one couldn’t have asked for a better setting than the Old North Church, Boston’s oldest surviving church right along the Freedom Trail.

Evan Turissini and Brooks Reeves Photo-by Nile Scott Studios

Three individuals composed of a reverend/doctor, his slave, and a sea captain are metaphorically tied together during this strained window in history. They are contemplating the state of Boston, the nation, and their future. Each clings to a different perspective of their future in terms of family, loyalty, occupation, politics, and identity. Two are a friendship divided through conflict and one is left without a choice as they articulate their thoughts and struggles while the world seems to be collapsing around them.

Gabridge’s passionate script has an intensity rooted in fear that looms quietly and then builds throughout the production. It also brings out the best in this trio of performers. Revolution’s Edge teeters from warmth to anxiousness to manipulation, but each evokes a note of consideration and compassion, even while blinded by fear.

Evan Turissini portrays American ship captain, vestryman, and patriot Captain John Pulling Jr. with reason, devotion, and compassion for the others, but is squarely dedicated to his cause. Turissini and Brooks Reeves as complicated Rev. Dr. Mather Byles Jr, a reverend and doctor with ties to England and America, share some pivotal and contentious moments that bring out some indelible performances. Huddled closely together, it is engrossing to watch their war of words. Byles’s impatience and manipulative side is particularly exposed in a significant conversation with Byles’s slave Cato, depicted sympathetically and astutely by Nathan Johnson. Johnson is faced with agonizing sacrifices and is truly the heart of this production.

Nathan Johnson and Brooks Reeves Photo by Nile Scott Studios

Revolution’s Edge cleverly weaves some of Boston’s most significant events including the Boston Tea Party and Revere’s Ride while the audience is still privy to dangerous events in motion right outside the church’s windows.

Though this would be especially fascinating for visitors of Boston and historians, Revolution’s Edge is an exciting and deeply educational window into a harrowing moment in history. Witnessing it knowing how the world is now brings intricate and profound meaning.

In honor of the Old North Church’s 300^th anniversary and directed by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge live and in person at The Old North Church in Boston Massachusetts on select days through September 19. The production is 45 minutes with no intermission and the box pews provide an immersive view. Click here for more information and for tickets.

REVIEW: The Huntington’s epic generational saga ‘The Lehman Trilogy’ a wealth of ideas within a whirlwind of talent

Posted on July 11, 2023 by The Sleepless Critic

It all begins with a dream.

Spanning over 150 years and three generations, The Lehman Trilogy’s vast and epic saga infused with Mark Bennett’s melodic retro-inspired original music featuring solo musician Joe LaRocca enhances a trilogy of versatile, pliable, dynamic, and unforgettable talent in three chapters embodying a wide range of characters on their able shoulders. Timed perfectly in the month of July, three Bavarian Jewish immigrant brothers take on America searching for the perfect business venture that personify their vision starting in Montgomery, Alabama and beyond.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at The Huntington Theatre through Sunday, July 23. The production is three hours and 35 minutes with two intermissions. Click here for more information and for tickets.

Joshua David Robinson, Firdous Bamji, Steven Skybell ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Decked out in top hats and tailored black suits embroidered with symbolic imagery on the back by Dede Ayite, it is difficult to fathom how these three actors navigated such an extensive yet detailed story including narration, mastering accents, contorting faces, changing mannerisms, and role changes at the drop of a hat all while making it look so seamless. It is even difficult to imagine such an epic production has been performed twice in one day as scheduled occasionally during the production’s run.

From meager beginnings to extraordinary meaning that spring to life as Steven Skybell as determined and confident Henry Lehman disembarks from a ship with only a mere suitcase in his possession in awe of America. It sounds like a story shared by many immigrants with nothing but a dream, but it’s the chutzpah, persistence and the resilience in everything that makes this particular tale shine. Business through love, children, and every chaos in-between to attempt what seems impossible. Points in history that transformed the United States and yet Lehman stands unrelenting to their dream. Each vision altered to suit what is needed next in the world.

Joe LaRocca, Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

What stunning innovation can spring from a modest factory! Sara Brown’s unassuming wooden warehouse metaphorically transforms through lifelike, mesmerizing and moving projections including illuminating rain, peerless rooftops, and surprising entryways created imaginatively by Jeanette Oi-Suk Yew and fueled by lighting designer Robert Wierzel.

Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Also noteworthy are the clever scene transitions especially in the third chapter such as the pop of a champagne bottle to the start of a race. It is in these careful details by Carey Perloff that keep up the show’s swift pace.

The show has a sleek sophistication and insightfulness that translate into lessons about navigating life itself. It is lengthy but justified in the expansive history of these visionary brothers. The real draw is not only the talent, but the evolution of this narrative tale. One valuable life lesson is it is not in failure, but how to respond to it that really matters. Mastery leaves no room for shortsightedness, but thrives on evolution and the answer to every problem is there. One just needs to spot it.

Firdous Bamji, Joshua David Robinson ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Steven Skybell as inquisitive, bright eyed and headstrong Henry Lehman, Joshua David Robinson as strategic Emanuel Lehman, and introduced with a sheepish half smile Firdous Bamji as Mayer Lehman form a trilogy of talent. They navigate these challenging roles with humor, discipline, and fervor and it is astounding to witness these actors onstage exchanging different countenances of various ages and genders, taking over narration, and moving the stories like, not by accident, a well oiled machine. However, the tale is also infused with all the humor, heart, camaraderie and determination demonstrated in groundbreaking and strategic fashion that never becomes ineffective or silly. It is smart, moving and detailed in a way that relates to anyone who has tried, failed, and has resolved to start again.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at the Huntington Theatre through Sunday, July 23. The production is three hours and 35 minutes with two intermissions. Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston’s ‘Hamilton’ – history and the hype

Posted on February 22, 2023 by The Sleepless Critic

Having witnessed Lin Manuel Miranda’s dynamite, hip hop improvisational event Freestyle Love Supreme live in Boston prior to seeing Hamilton, it is easy to see some of the inspiration and contemporary influences on the renowned historical rap musical, Hamilton which centers around one of America’s founding fathers, Alexander Hamilton. As an illegitimate orphan immigrant from the West Indies, Hamilton created a legacy and became one of the forefathers of the constitution, but not without making enemies and causing scandal along the way.

Directed by Thomas Kail and inspired by the book, Alexander Hamilton by Ron Chernow, Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House in Boston, Massachusetts through March 12. Click here for more information and for tickets.

Hamilton Joseph Morales and Nik Walker will lead the second national tour of Hamilton as Alexander Hamilton and Aaron Burr, respectively. Other principal roles in Hamilton will be played by Ta’Rea Campbell as Angelica Schuyler; Marcus Choi as George Washington; Elijah Malcomb as John Laurens/Phillip Schuyler; Shoba Narayan as Eliza Hamilton; Fergie L. Philippe as Hercules Mulligan/James Madison; Kyle Scatliffe as Marquis de Lafayette/Thomas Jefferson; Danielle Sostre as Peggy Schuyler/Maria Reynolds and Jon Patrick Walker as King George. The second national tour also includes Tia Altinay, Amber Ardolino, Conroe Brooks, Cameron Burke, Evan S. Cochran, Phil Colgan, Desmond Sean Eillington, Hope Endrenyi, Lili Froehlich, Daniel Gaymon, Camden Gonzales, Jennie Harney, Stephen Hernandez, Kristen Hoagland, Abby Jaros, Emily Jenda, Wonza Johnson, King David Jones, Carina-Kay Louchiey, Brandt Martinez, Taeko McCarroll, Tyler McKenzie, Justice Moore, Antuan Magic Raimone, Julian Ramos, Jen Sese, Willie Smith III, and Julius Thomas III. Photo by Joan Marcus

One of Hamilton’s most memorable lines reflected on legacy. It is defined as “planting seeds in a garden you never get to see.” Hamilton has an innate urgency as big as Hamilton’s persistent and risk taking drive. Having emigrated from the West Indies where life was short to New York, Alexander knew many in the West Indies at that time did not expect to live past 20 as he arrived in New York with big aspirations according to the musical at 19 years old.

Hamilton’s life was lived without a second to lose and the show emphasizes this with vigor, roaring cannons by sound designer Nevin Steinberg while Howell Binkley’s peak lighting blares in the distance for My Shot. In spite of a mountain of obstacles, Alexander knew this was his chance to rise up and bring the United States to freedom.

Quite the opposite is the leisurely sarcasm of King of England’s King George, an amusingly smug performance by Neil Haskell as he waits in the wings for his estranged renegades’ surefire defeat and return. Wearing a gleaming crown, Haskell’ s droll and intriguing remarks are so certain and so methodically threatening in You’ll Be Back as he drives his once followers into submission from a distance. In feigned loyalty and villainy, he remarks, “You were mine to subdue.”

One of the strongest and most fascinating aspects of the musical is Jared Dixon’s regal, sophisticated and reserved Aaron Burr to Pierre Jean Gonzalez’s impulsive and expedient Alexander Hamilton. Dixon is exceptional as Burr, emphasizing how these two greats are so alike and so incredibly different as is demonstrated in the stirring number, Dear Theodosia. Burr and Hamilton’s building tension, especially while working with an inspiring Marcus Choi as wise, firm, reasonable and commanding George Washington, is among the best parts of the production. Aaron Burr Sir, Non-Stop, and The Room Where it Happens emphasize this gripping tension while Choi makes a formidable Washington as he delivers soaring vocals in an exhilarating rendition of One Last Time.

Hamilton’s reflective number Hurricane is an indelible performance fueled by Andy Blankenbuehler’s intricate and purposeful choreography while contemporary meets vintage colonial flair in a stream of clever storytelling for the playful Helpless and then the discerning Satisfied. Hamilton’s colonial era setting hits the mark with costumes by Paul Tazewell ranging from bustiers to velvet suits to sweeping ball gowns in muted colors. Ta’Rea Campbell is extraordinary as conflicted Schuyler sister Angelica. Her silvery vocals depict her charisma, determination, but steadfast loyalty established in Helpless and Satisfied. She has intriguing chemistry with Hamilton as she deliberately matches her sister Eliza with him. Nikisha Williams is well suited for wide eyed, altruistic, and unwaveringly supportive Eliza as demonstrated in the touching duet That Would be Enough with Gonzalez and the complex and poignant It’s Quiet Uptown enhanced by Blankenbueher’s sweeping choreography.

Shoba Narayan, Ta’Rea Campbell, and Nyla Sostre – Hamilton National Tour Photo credit Joan Marcus 2018

Hamilton has had quite a sterling reputation over the years. Witnessing this musical the first time brought incredibly high expectations, so perhaps those high hopes was not fair to the musical itself. It was a unique and immersive experience featuring some fast paced and catchy numbers, but also a wealth of heady and historical dialogue delivered in rap libretto, which sometimes made the musical difficult to follow. Streaming it with subtitles certainly helped on Disney Plus and returning fans of Hamilton are already familiar with the story and soundtrack, but though the style is contemporary and innovative, it was a bit frustrating trying to capture every word. Perhaps it is wise to experience Hamilton through the soundtrack and/or streaming before watching it live.

Much acclaim to Alexander Hamilton who literally picked himself up by his bootstraps and created such an incredible legacy. Hamilton is packed with some lesser known historical facts about United States history and history buffs will especially enjoy it as events unfold. Hamilton is full of patriotism and stands as a much needed reminder of the kind of timeless zealousness that originally established America’s independence and freedom as it pulses to its own contemporary beat.

Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House through March 12. Click here for more information and for tickets.

REVIEW: Park the car at the Company Theatre for their bustling, meaningful musical ‘Ragtime’

Posted on August 3, 2018 by The Sleepless Critic

Oh, how that music rolls along. Much like the show’s polished Ford Model T, Company Theatre’s Ragtime the Musical hums like a well oiled machine, driven by its marvelous music, veering into life’s complicated pursuit of happiness.

Composed of an energetic, 15 piece live orchestra led by Music Director Steve Bass, this bustling, message-driven musical portrays America through many different sets of eyes, an America full of expectations, hope, and disappointment. Many looked to America for answers and some discovered it was not quite what they expected. Some realized the answers were there all along, and some took their comfortable world for granted. As each impressive note swells, another day dawns to face fears, work harder, and support your neighbor. You might even find yourself singing a new song.

Company Theatre kicked off their 40^th season with Ragtime the Musical on Friday, July 27 and continuing Sunday, August 19 at the Company Theatre in Norwell, Massachusetts. Click here for more information and for tickets.

Company Theatre Ragtime through August 19

Courtesy of Company Theatre for the Arts

Ragtime the Musical explores America from many different perspectives from Eastern European immigrants, people of Harlem led by a successful jazz musician, and the upper-class residents of New Rochelle, New York. Much of Ragtime is a historical story told. Narrated with gravitas in part by Jeffrey Sewell as Younger Brother, the catchy, rich, and stirring vocals combined with the complex, interweaving tale is the real magic of this piece. With a cast brimming with sensational voices, Ragtime delivers one spine-tingling song after another.

With the bulk of the cast frequently onstage, costume designer Brianna Plummer carefully orchestrates a bold statement into each costume, painting her own distinct portrait from white lace and pearls to bowler hats and colorful suits faithful to the era. Behind a white parasol and a string of pearls, Paula Markowitz portrays privileged, yet compassionate New Rochelle resident, Mother. Markowitz’s silvery soprano vocals soar with the heartfelt numbers, Goodbye, My Love and Back to Before. It is a privilege to see Markowitz depict her character on a transformative journey, torn between her pensive pauses and her impulsiveness.

With a firm, bearded frown, Peter S. Adams portrays seemingly controlling Father as unyieldingly practical, astute, and always driven by what he thinks are good intentions. Adams and Markowitz have a familiar chemistry that takes on the earmarks of an old married couple. They move together with a comforting predictability. Adams’s melodious, rich vocals are especially poignant during the number, New Music.

Peter S. Adams as Father and Owen Veith as The Little Boy with cast in the number, ‘What a Game’ Photo courtesy of Company Theatre for the Arts

Owen Veith portrays their chatty, wise, and precocious Little Boy. Not only is he an adorable addition to the cast, but Veith has some real comic timing as he innocently spouts out truth at the most inconvenient times.

Michael Hammond delivers warmth and enthusiasm as Jewish immigrant, Tateh. He is a seemingly jubilant hard worker, often hiding his pain. He has a sweet compatibility with Hannah Dwyer as The Little Girl as they discover a new world and is especially charming during the imaginative number, Gliding.

(L to R) Barbara Baumgarten, Cristian Sack, Hilary Goodnow, Brenna Kenney, Finn Clougherty, Jillian Griffin, with Hannah Dwyer as Little Girl and Michael Hammond as Tateh Photo courtesy of Zoe Bradford

Introduced fittingly by the infectious tune Henry Ford, The Ford Model T is something to behold and is its own character. With working headlights, the Ford Model T is suburb, much like the character driving it. Last seen as the Wizard in Lyric Stage Company’s The Wiz, Davron S. Monroe as Model T owner and successful Harlem jazz musician Colehouse Walker Jr. embodies the role with charisma, dignity, and sympathetic earnestness. One could also listen to his velvety vocals all day. Arielle Rogers delivers a moving performance as Sarah, punctuated by her pained, heart rendering version of Daddy’s Son. Together, they perform a magnificent version of Wheels of a Dream. Get in the car, park it at Company Theatre, and witness that magic.

Company Theatre 'Ragtime' Colehouse Walker Jr and cast

Devron S. Monroe as Colehouse Walker Jr. in ‘Ragtime’ with cast Photo courtesy of Company Theatre for the Arts

The show is not without its moments of satirical humor delivered by over the top, flirtatious showgirl, model, and actress Evelyn Nesbit, portrayed with a wink and a smile by Sarah Kelly. Along with James Fernandez as spectacular Hungarian immigrant illusionist Harry Houdini, these two historical figures shine the light on what the world aspires to.

Company Theatre’s Ragtime the Musical continues through Sunday, August 19 at Company Theatre for the Arts, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, tickets, and how to support Company Theatre’s future. Also follow Company Theatre on Facebook, Instagram and Twitter to learn all about their milestone 40^th season.

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REVIEW: Athletic grace, intensity, and enchanting beauty drive The Boston Ballet’s debut of ‘Obsidian Tear’

Posted on November 9, 2017 by The Sleepless Critic

Featuring an enthralling, unconventional start, renowned choreographers depict a rich array of contrasting tones as The Boston Ballet opened its 2017-18 season with the captivating, North American debut of Obsidian Tear continuing through Sunday, November 12 at the Boston Opera House in Boston, Massachusetts. What is particularly intriguing about this program is its delicate balance of triumph, suspense, sorrow, and beauty in a blend of traditional and contemporary artistry featuring two revered works by composer Jean Sibelius. Click here for more information and tickets.

The Boston Ballet strikes an impressive, emotional balance with the combination of a special, orchestral performance of Finlandia by Jean Sibelius, Obsidian Tear, and Fifth Symphony of Jean Sibelius. Led by guest conductor Daniel Stewart, the Boston Ballet opened with a stirring orchestral performance of the Finnish National song, Finlandia, composed as a tone poem by Jean Sibelius. Magnificently led by conductor Daniel Stewart, Finlandia is a triumphant, gripping masterpiece from its ferocious open to every subtle, enchanting note in between.

Boston Ballet in Wayne McGregor’s Obsidian Tear; photo by Rosalie O’Connor, courtesy Boston Ballet

The Boston Ballet added to its fervent tone with the North American debut of Obsidian Tear followed by the elegant, world premiere of Fifth Symphony of Jean Sibelius. Choreographed by Wayne McGregor and accompanied by the haunting and evocative rhythms of Esa-Pekka Salonen’s Lachen verlernt and Nyx from violin soloist, Christine Vitale, Obsidian Tear builds to a palpable sense of urgency as each of the nine male dancers, including Daniel Cooper, Derek Dunn, Samivel Evans, John Lam, Alexander Maryianowski, Eric Nezha, Patrick Palkens, Desean Taber, and Junxiong Zhou, appear.

Irlan Silva in Wayne McGregor’s Obsidian Tear; photo by Rosalie O’Connor, courtesy Boston Ballet

Surrounded by a warmly-lit stage and minimal black backdrop, each dancer exhibits their own, distinct appearance and style, gliding in long, sweeping movements. Often dividing into pairs, their athletic prowess drives each complex step as exuberance, mischief, cooperation, and combativeness, flood an increasingly busy landscape. Thrilling and poignant, Obsidian Tear is a thought-provoking, mesmerizing journey about belonging and the darkness within.

Boston Ballet in Jorma Elo’s Fifth Symphony of Jean Sibelius; photo by Rosalie O’Connor, courtesy Boston Ballet

The world premiere of Fifth Symphony of Jean Sibelius, gorgeously choreographed by Jorma Elo, evokes the light, romantic tone of traditional ballet. The pure, delicate beauty of the ensemble in pale pastel envelops the stage in graceful splendor as a single black halo hovers above. In elegant costumes designed by former Dutch National ballet dancer Yumiko Takeshima, Fifth Symphony of Jean Sibelius delivers its own sophisticated rhythm, building into a flurry of circular motion and blossoming lifts. As some divide into attractive pairs, dancers soar, leap, and float joyfully to a soft, urgent rhythm. A particular highlight depicts the dancers lying sideways across the stage as a pair nimbly twirls into pirouettes and refined lifts. As Obsidian Tear often focuses on individuals, this performance is much more an ensemble piece, forming dazzling soft color portraits in a breezy, jovial state.

Boston Ballet in Jorma Elo’s Fifth Symphony of Jean Sibelius; photo by Rosalie O’Connor, courtesy Boston Ballet

Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. All performances take place at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Facebook and Twitter.