Artistic Director and founder Tony Williams describes how ‘Urban Nutcracker’ became a hit

What if the spirit of Boston as well as hip hop, tap, Mexican folk dance, flamenco, swing dancing and more were weaved into Tchaikovsky’s beloved holiday classic, The Nutcracker?  Celebrating its 19th anniversary, The City Ballet of Boston (CBB) presents Tony Williams’ family friendly Urban Nutcracker from Thursday, December 19 through Saturday, December 28 at the Boch Center Shubert Theatre in Boston, Massachusetts.  Click here for more information and tickets.  Click here for a sneak peek at the show.

Tony Williams, acclaimed choreographer, founder, and Artistic Director of the Urban Nutcracker and the Tony Williams Dance Center, talks about Urban Nutcracker’s humble beginnings and how it has evolved to become the hit it is today while every year featuring something new.

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Founder and Artistic Director of Urban Nutcracker Tony Williams Photo courtesy of Tony Williams/City Ballet of Boston

Sleepless Critic:  What I love about Urban Nutcracker is while the traditional Nutcracker is rooted in fantasy, the heart of the Urban Nutcracker is in Boston and its history.  What inspired this concept?

Tony Williams:  I was raised in Boston and danced in the premiere of the first major professional production of Boston Ballet’s The Nutcracker conducted by famed conductor of the Boston Pops Arthur Fiedler in 1965.  I danced in the traditional Nutcracker for many years and when I stopped, I still performed large and smaller productions in and around Boston.

About 20 years ago, I started my dance school in Jamaica Plain.  I had two male African American dancers working for me teaching tap and hip hop.  In my school’s first year of enrollment, I had about 20 boys which is a huge amount of boys than in most dance schools.  I had the makings of a youth cast for a production and wanted to showcase the kids, but most of the boys came for tap and hip hop where I was teaching ballet.

I thought about putting on The Nutcracker and the parents can be involved and bring their kids.  With so many traditional Nutcrackers out there, maybe we can create an urban contemporary Nutcracker with hip hop, tap, and ballet incorporating our hip hop teacher Ricardo Foster and tap teacher Khalid Hill.

Coincidentally around that time, I came across Duke Ellington’s jazzy, big band Nutcracker Suite.  I can use that and mix in the traditional Nutcracker like a soup and hope it turns out right.  A smaller dance troupe also performed a Nutcracker in New York City around that time.  Their background was in New York City and they based the show in Central Park.   I decided to freshen up this old classic chestnut, The Nutcracker, and put it in present day Boston.

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Sneak Peek of the Urban Nutcracker at this year’s Boston Tree Lighting in the Boston Common Photo courtesy of Tony Williams/City Ballet of Boston

SC:  It has been very successful because I believe next year will be Urban Nutcracker’s 20th anniversary in 2020.

TW:  It’s amazing we’ve succeeded all of these years.  We evolve, tweak, and polish the show every year and it’s a challenge financially to pull it all together.  The first year we were on a shoestring budget.

People have supported the show all of these years and I feel fortunate it is still around.  Not so much for my personal ego, but for the opportunity to have it for the City of Boston.  You don’t have to know Boston in order to like the show but if you do, you will have more of a connection to it.

SC:  You feature some traditional and international roots in the Urban Nutcracker such as The Russian Dance.

TW:  We have the Russian Dance which we call Caviar Caper, the Arabian Dance we call Desert Chiffon, and the Chinese or Tea Dance which we call Ginseng Brise.  Brise is the French word for a dance step in ballet.

This year, we have a major addition to Act II and one of the divertissements will be based on the story, Make Way for Ducklings by Robert McCloskey from 1941.  We introduced ducks in the snow scene in the past and it didn’t quite fit.  This year we are calling it Mrs. Mallard and her Duckling Delights with a tap dancing policeman and Mother Duck will dance on Pointe.  The cute baby ducks have their own dance which the kids will love.

We’re doing a new Russian dance with two couples and many more surprises!

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Urban Nutcracker cast Photo courtesy of Tony Williams/City Ballet of Boston

SC:  How did this become a tradition?  The reception must have been extraordinary that first year.

TW:  The first year we were trying to introduce this new creation was right after 911 and the whole world was in a depression.  A friend of mine told me it wasn’t the time to do this kind of show and I thought about that.

I was sad about what had happened, but working with the young kids brought about a rebirth of hope and I continue the show because of them.  We did three sold out performances the first year at the Strand Theatre in Dorchester.

I was so nervous that first night and had no idea how it would be received.  We had no money or advertisements except a great story in the Globe.  From the opening dance in the prologue right before the story line began, the dancers and musicians in Downtown Crossing and Quincy Market danced outside with their hats out for donations.  The ovation was so loud and that’s when we knew we had something.

SC:  I understand that the show features The City Ballet of Boston.  Is that your troupe?

TW:  It used to be the Tony Williams Ballet Company, but last year it evolved into the non-profit City Ballet of Boston.  The core group is comprised of eight cohesive adult professional dancers that have been with me for the second year.  It is expected we have top notch professional dancers at the Shubert Theatre which is partly why I did that with the company.  I call it City Ballet of Boston because we are proud of Boston.  Hopefully, when I am no longer around, The CBB will be able to produce this show for generations to come.

A woman who happens to work at the Boch Center Shubert Theatre came for the first time last year and brought her three year old daughter while her husband was away on business.   Her parents were visiting from Chicago and the four of them came to the show.  She told me afterwards she really enjoyed the show, but was struck that her daughter, father, and mother were so raptly attentive to the show as well.   Each generation enjoyed it!

SC:  What are your future plans?

TW:  We have the family production, Peter and the Wolf from April 29 to May 2, 2020 at the Calderwood Pavilion.  We’ve been doing some classical and contemporary pieces and it will be something for everybody.

SC:  You tend to mix contemporary with traditional dance.

TW:  I do it because it is intriguing creatively, artistically, and it’s fun to work that way.

SC:  That way you can keep surprising people with your work.

TW:  I need to do something fresh not only for the audience and the dancers, but I get a charge out of that too.

Urban Nutcracker returns to the Boch Center Shubert Theatre, 265 Tremont Street in Boston, Massachusetts from Thursday, December 19 through Saturday, December 28.  Click here for more information, tickets, and learn more about Tony Williams and his work.

 

REVIEW: Presented by Celebrity Series of Boston, Mark Morris Dance Group’s ‘Pepperland’ a psychedelic, humorous, and visually-compelling Beatles tribute

It was a packed house and a long line outside of the Boch Shubert Theatre in Boston on a cold Sunday afternoon on February 10 to witness Mark Morris Dance Group’s Pepperland, a humorous and visually-captivating tribute to the 50th anniversary of the Beatles lauded album, Sgt Peppers Lonely Hearts Club Band.  Having made its debut in Liverpool in May 2017, Celebrity Series of Boston presented this distinct musical celebration for three performances only from February 8-10.  The show was approximately an hour with no intermission.  Click here to see where Pepperland will be next,  here for more information about the Celebrity Series of Boston and their upcoming performances, and here for more on the Mark Morris Dance Group.

From depicting the Beatles rampant popularity to a psychedelic journey to enlightenment to the lonely journey of finding love, Mark Morris Dance Group offered a fresh take of this beloved Beatles album through Ethan Iverson’s  original compositions.  Often instrumental, Pepperland is partially sung and narrated, highlighting some of the Beatles most popular and insightful lyrics.

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‘Pepperland’ performance in Seattle. Images by Mat Hayward/Celebrity Series of Boston

Renowned costume designer Elizabeth Kurtzman’s brilliant color schemes such as mesmerizing black and white checkered suits and kaleidoscopic pleated dresses seamlessly blend with the crystallized multi-color backdrop, thanks to set designer Johan Henckens and lighting designer Nick Kolin.  This mix created an alluring flair.

Within these original orchestrations lie hints of some of the Beatles most popular songs.  A particular highlight was the song, Magna Carta, where dancers bring some of the celebrities featured on the album cover, Sgt Peppers Lonely Hearts Club Band to life, like Marilyn Monroe and Laurel and Hardy, just by their signature poses.  Mark Morris Dance Group performed a nostalgic version of With a Little Help from my Friends, punctuated by peace signs and a simple, yet memorable wave.

Pepper land dress rehearsal and press night. Images by Gareth Jones

Pepper land dress rehearsal and press night in Liverpool. Images by Gareth Jones/Celebrity Series of Boston

The dancers’ somewhat trippy and complicated moves personify the essence of the album while also providing a new vision.  Dancing in brightly colored socks, they performed a blend of classic and contemporary moves as they bent into a complex slant and defied gravity as they leaned back into each other.  In bright, bold colors, they formed clever dance combinations spinning in pairs, purposefully out of sync.

Their interpretive, ensemble dance of A Day in the Life was another particular standout, telling their own tale.  Couples flourished and dancers were lifted through the crowd.  Also weaved into the songs were energetic dance moves reminiscent of the era.  During the song, Within You Without You, dancers lapsed into moments of loneliness as the Beatles reflected, “We were talking about the space between us all and the people who hold thousands behind us all.”

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‘Pepperland’ performance in Seattle Images by Mat Hayward/Celebrity Series of Boston

Book ending the show was the iconic title track, Sgt Peppers Lonely Hearts Club Band.  The psychedelic, signature beat punctuated by a captivating and unique march kicked off and ended a journey that featured moments of joy, beauty, and individuality as they paid tribute to one of the most brilliant bands of all time.

Click here to see where Pepperland will be next.  Celebrity Series of Boston offers a dynamic roster featuring the annual Stave Sessions, Alvin Ailey American Dance Theatre, What Makes it Great with NPR’s Rob Kapilow, and much more.  Click here for more information and for tickets. Tickets can also be obtained at the Celebrity Series of Boston’s box office.  Follow Celebrity Series of Boston on FacebookTwitter, and Instagram.

 

 

 

 

 

 

Mark Morris Dance Group’s costume designer Elizabeth Kurtzman talks vibrant inspiration behind Beatles show, ‘Pepperland’

According to Rolling Stone, The Beatles hit album Sgt Pepper’s Lonely Hearts Club Band ranked #1 of The 500 Greatest Albums of All Time in 2003.  Not only is this groundbreaking album visually compelling, but songs on the album such as Lucy in the Sky with Diamonds, With a Little Help from My Friends, Penny Lane, When I’m Sixty-Four, and the album’s popular title track are considered rock and roll classics.

What is it like to bring that album to life in vibrant color in its 50th anniversary year?  New York costume designer Elizabeth Kurtzman talks about what it was like to bring Mark Morris Group, Pepperland to the stage.  Celebrity Series of Boston presents Mark Morris Dance Group’s Pepperland, a tribute to Sgt Pepper’s Lonely Hearts Club Band, to the Boch Center Shubert Theatre in Boston February 8-10.  Click here for more information and for tickets.

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‘Pepperland’ performance in Seattle. Images by Mat Hayward/Celebrity Series of Boston

Sleepless Critic:  It must be exciting to portray the essence of this classic Beatles album, Sgt Pepper’s Lonely Hearts Club Band in its 50th anniversary year.  Please tell me what your initial thoughts were in taking on this project.

Elizabeth Kurtzman:  I read the email inviting me to work on a project that involved music by the Beatles. I thought I was dreaming and was really intrigued.  Mark Morris and the Beatles are two of my favorite things.  I could not imagine how it would all look and sound. I knew it would not be by-the-book –Beatles and it had to be turned around pretty quickly.

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‘Pepperland’ performance in Seattle. Images by Mat Hayward/Celebrity Series of Boston

The 60s brought rapidly changing style. There is a lot of information in the years the Beatles made all that music, so there were a lot of possibilities.

SC:  You have worked with the Mark Morris Dance Group numerous times.  How was this project a unique experience for you and what do you like most about working with them? I know it might have been a challenge to tie in a contemporary feel to such an iconic time period.

EK:  They look great in these clothes/costumes and wish the guys wore these suits all the time.  They are a dream and it isn’t easy to dance in layers made out of corduroy.

Some of Mark’s pieces require more research than others. I spent hours looking up fashion and color from 1960-69. Mark was not interested in dressing the dancers in satin and feathers a la the album cover. It was more about trying to send the message of the early sixties. Simple shapes, but those shapes looked new, fresh, and young. Colored tights were so futuristic and men’s suits got smaller and cuter. I was a kid mid-sixties, but was completely mesmerized by those clothes.

Color was just as important as shape. Colors were new, synthetic fabrics made bolder, brighter fabrics available. The color palette was loosely based on a photo of a mural painted on a corner on Carnaby Street in London.

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‘Pepperland’ performance in Seattle Images by Mat Hayward/Celebrity Series of Boston

SC:  Songs like With A Little Help From My Friends, When I’m Sixty-Four, and the title track are just a few of the songs portrayed visually onstage.  What was that process like and can you offer a hint of the vibe audiences can expect when they see the show?

EK:  I think the show is about the energy of the time which offers a lot of happiness with a little melancholy thrown in.

SC:  From what I have seen of your work, you seem to add a vibrant personality to the performers that take the stage.  The colors and designs really pop.

The dancers are so game and energetic, the color and design only enhance their skill.  I love working with fabric and color and am fortunate to be able to attend rehearsals, which is where I get to see the personality of the dance and how the dancers move.

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‘Pepperland’ performance in Seattle. Images by Mat Hayward/Celebrity Series of Boston

 SC:  What has been the most challenging work you have done in New York or otherwise?

EK:  I can’t say there is one thing I’ve worked on that stands out as most challenging. There are always a few little challenges, but always a way to overcome them. It is more challenging working with small theatre companies that have tiny budgets and lots of costume changes or working with opera singers who hate the way they look in any and everything.  The biggest challenge is sewing it myself.

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‘Pepperland’ performance in Liverpool Images by Robbie Jack/Celebrity Series of Boston

SC:  You also provide art and music for programs for children in New York City.  Please tell me more about that and how you got involved.

Several years ago, I was involved with the Children’s Museum of the Arts downtown. I was determined to get kids to design and repurpose their clothes. Most of the adults I know do not know how to sew on a button.

I helped put together a program for children on the autism spectrum and their families that provided a place for making great art and music.  I also spent many hours designing and making costumes for the theatre department at my daughter’s high school who graduated in 2017.

Celebrity Series of Boston presents Mark Morris Group, Pepperland, at the Boch Center Shubert Theatre in Boston from February 8-10.  Click here for more information and for tickets. Tickets can also be obtained at the Celebrity Series of Boston’s box office.  Follow Celebrity Series of Boston on FacebookTwitter, and Instagram.

Acrobat Nathan Knowles talks circus and inspiration as Celebrity Series of Boston presents award-winning show, Circa ‘S’

With sensational feats sure to cause the audience to look twice in amazement, the award-winning, animal free Australian circus, Circa is not only fun for the whole family, but has been enchanting audiences all over the world since 2004.  With a revamped cast making its third thrilling return to Boston, Celebrity Series of Boston proudly presents Circa ‘S’ for three performances only from Friday, March 2 through Sunday, March 4 with a post- performance artist talk on March 3 at Boch Center Shubert Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

Joining the circus was a fire that burned the brightest for young Canadian acrobat, Nathan Knowles. Having been with Circa ‘S’ for 18 months, he learns something new and exciting every day.  Nathan talks about discovering the circus, what it takes to become an acrobat, and his future.

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Acrobats Photo courtesy of Darcy Grant

Sleepless Critic:  What first inspired you to become an acrobat and when did you decide it was your calling?

Nathan Knowles:  In my hometown of Maple Ridge, British Columbia, a clown first introduced me to the circus at age six during an extra-curricular program at my primary school. I went home from school that day and told my parents that one day I’ll be running away with the circus. They laughed it off thinking, ‘What kid doesn’t joke about that?’ I actually manifested it.

SC:  Was there something you wanted to be first, or was it always an acrobat?

NK:  As per a normal childhood, I had a few fleeting ideas of what I would do professionally one day, but the circus was always the fire that burned the brightest.

SC:  What kind of skills do you think it takes to become an acrobat?

NK:  It takes motivation, hunger, discipline, a healthy dose of insanity, and natural or developed physical talent.

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Photo courtesy of Steve Eggelton

SC:  How did you get involved with Circa?

NK:  My involvement with Circa began at a workshop in Montréal with our Artistic Director, Yaron Lifschitz during my graduating year from National Circus School. A few months later, I had a signed contract and was hopping on a plane to Brisbane to start the adventure!

SC:  What is your favorite act to perform?

NK:  My acrobatic specialties are hand balancing and contortion, but in terms of the company’s repertoire, I’d have to say ‘Snap’. ‘Snap’ is a scene from our show Il Ritorno where the rest of the ensemble manipulates my body into seemingly impossible shapes and leaves me to sort myself out and bring my body back to normal.

SC:  Wow, that is wild.  Aside from excluding animals, in what way is Circa a unique experience?  I understand that ‘S’ stands for sinuous, seductive, sophisticated, sensual and savage.

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Photo courtesy of Steve Eggelton

NK:  Circa, a show for all ages, is a stand out company based on our artistic approach to the simply physical and spectacular nature that circus is known for. The company is known for not only demonstrating extreme physical prowess but also our storytelling and capabilities to strike a nerve emotionally and reflectively in the souls of our audiences.

SC:  Circa has been established since 2004. How has this production evolved over the years?

NK:  Circa has grown immensely and has doubled, if not tripled in size. Our reputation for high quality work and innovation has been acclaimed and recognized in 36 different countries. We live up to our reputation without being elitist. We’re a group of fun loving, curious, and professional people from all walks of life.

SC:  What does Circa ‘S’ have in store for Boston? Does the act change a bit with each destination?

NK:  Boston is in for an exciting treat! Although ‘S’ has been performed in many venues around the world, it’s an almost completely revamped cast this time around, yet still holds true to the original concept and structure of the show.

SC:  What do you think makes Circa different from other circuses around the world?

NK:  What makes us different is our hunger and fearless drive to continue chipping away at the future of the circus. Our work is an honest extension of our own humanity, not simply physical prowess coated in fancy costuming, booming budgets, and heavy makeup.

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Photo Courtesy of Justin Nicholas

SC:  I understand Circa also has a training center for young people from age 3 to 16. Please tell me more about that.

NK:  Circa Zoo, our training program, is an after school program for young people who either are looking for a fun way to stay active or develop the tools to one day break out into the professional market. They also do outreach and external projects in regional Australian towns.

SC:  What do you hope to accomplish with Circa in the future and in your career as an acrobat?

NK:  I prefer to view it as taking it one day at a time. I’ve worked for the company for 18 months now and there hasn’t been a day where I leave the studio or theatre without having learned something new. I’m unable to say at this point whether my career will extend to other companies apart from Circa. I’m happy where I am and have no intention of leaving any time soon. I am also highly interested in making my own work later in life, hopefully in the form of a solo show.

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Photo courtesy of Justin Nicholas

 

SC:  What is the best reason people should see Circa as it makes its third return to Boston with Celebrity Series?

NK:  We’ll have you on the edge of your seats, full to the brim with wonder and questioning!  We aim for you to walk away from the show with a sense of being changed or even a new flame of inspiration to take with you into your life.

Celebrity Series of Boston presents Circa ‘S’ from Friday, March 2 through Sunday, March 4 at Boch Center Shubert Theatre.  Click here for tickets and more about Celebrity Series of Boston as well as their upcoming events.  Follow them on Facebook and Twitter.

 

 

 

 

REVIEW: Moving and visually stunning, ‘Soaring Wings: Journey of the Crested Ibis’ took flight in Boston

The richest beauty comes from a striking, beloved bird as The Boch Center Shubert Theatre debuted the Shanghai Dance Theatre’s ethereal and historical tale, Soaring Wings:  Journey of the Crested Ibis in Boston from January 11 and 12.   The show is part of China Arts and Entertainment Group’s Image China and has been touring all over the world since 2014.  A few of Image China’s featured past performances include The Legend of Mulan, Confucius Dragon Boat Racing, and the Peking Opera.  Click here for more information about Boch Center’s upcoming events.

Soaring Wings, January 11-12, 2018 at the Boch Center Shubert Theatre (11)

Crested Ibis Photo courtesy of China Arts and Entertainment Group’s Image China

With elements similar to Tchaikovsky’s Swan LakeSoaring Wings is a majestic celebration of nature’s harmony with man and how delicate that relationship can be.  From harp-infused, mystical rhythms and horn-infused intensity composed by Guo Sida to the distinct, elegant choreography by Tong Ruirui, Soaring Wings delivers a stunning portrait of love, camaraderie, and what comes of neglect in a tree-lined utopia.

Soaring Wings, January 11-12, 2018 at the Boch Center Shubert Theatre (13)

Courtesy of China Arts and Entertainment Group’s Image China

Written by Luo Huaizhen, directed by Ton Ruirui, and starring Zhu Jiejing and Wang Jiajun, Soaring Wings is part love story, part environmental awareness, and part historical account of the Crested Ibis, China’s sacred bird of good fortune, from its first appearance centuries ago to what has become of them today.  The simple and beautiful setting under a low hanging, multi-branched tree entangled with a mist covered lake is a vision to behold and prefaces the grace and charm of these spectacular birds as a group of explorers look on.  Wearing intricately detailed, lacy costumes accented by a feather plume and dainty red slippers, the dancers move in simultaneous elegance.   They joyfully chirp, prance, float, twinkle, and expressively cock their head while outstretching their wide, magnificent wings under streaming, multi-colored lights.

Soaring Wings, January 11-12, 2018 at the Boch Center Shubert Theatre (7)

The ‘flock’ of Crested Ibis Photo courtesy of China Arts and Entertainment’s Image China

Zhu Jijng and Wang Jiajun possess an instant, sweet fascination with each other as man and bird.  Their intimate dance and the radiant joy they exude from each other is a captivating centerpiece of the performance.  Divided into three parts, the stark contrast between the warmth and jarring indifference that develops in its characters and the symbolic relevance of a floating, single feather drives this altruistic tale.  As visually stunning as its universal message, Soaring Wings: Journey of the Crested Ibis embodies the power of kindness and the importance of harmony in an ever changing world.

Click here for more information about China Arts and Entertainment Group’s Image China and here for more about Boch Center’s upcoming events.

 

REVIEW: ‘L.A. Dance Project’ closed Celebrity Series of Boston’s season with powerful, message-driven performances

Another spectacular season of Celebrity Series of Boston has come to an end, but not without an intriguing and dynamic finale by L.A. Dance Project, packing a punch with their surprising footwork.  The final performance also featured a free, interactive post-show talk with Ballet Master Sébastien Marcovici.  Celebrity Series of Boston’s 2017-18 season will premiere in October with multi-talented performer Alan Cumming.  Click here for more information and for tickets.

Playful, vibrant, and at times haunting, L.A. Dance Project, closed out the Celebrity Series of Boston’s season at the Shubert Theatre from May 19-21. Led by Benjamin Millepied, an acclaimed dancer and choreographer known for choreographing the award-winning film, Black Swan, L.A. Dance Project’s three complex and contemporary dance segments offer its share of joy and conflict while inspiring strong emotions throughout the performance.

L.A. Dance Project

‘Harbor Me’ (Morgan Lugo, Robbie Moore, Aaron Carr) Photo courtesy of Robert Torres/Celebrity Series of Boston

Accompanied by a haunting oboe featured in a dynamic medley by Park Woojae, Harbor Me by Sidi Larbi Cherkaoui delivers a powerful message about human nature and looking past what is on the surface.  Fragments of light stripe the floor as shadows sway ominously on the walls.  Dressed in fatigues and urban clothing in browns, blues and greens, Stephanie Amurao, Julia Eichten, and Lilja Ruriksdottir interact with each other in a ballet-infused variation of unity, imitation, reflection, and conflict.  They move in a fascinating flurry of abstract movement that both celebrates unity as well as emphasize the dark side of human nature as the music intensifies.

LA Dance Project Murder Ballades

Murder Ballades (Nathan Makolandra, Rachelle Rafailedes) Photo courtesy of Robert Torres/Celebrity Series of Boston

Worn sneakers possess a mighty significance as dancers, dressed youthfully in shirts and shorts, unite in a vigorous and charming performance, the second dance segment of the afternoon.  The lighthearted, violin-infused music possesses a mounting urgency set upon a vibrant water, gold, and black background.  The lithe men and women ensemble, featuring Stephanie Amurao, Aaron Carr, Julia Eichten, Nathan B. Makolandra, Robbie Moore, and Rachel Rafailedes, are blissful and uplifting in smooth, sweeping steps.  They perform pirouettes with zeal, twirl, dip, and hook arms in a display of sweet innocence.  In a particularly humorous moment, as the dancers exited the stage, rambunctious dancer Janie Taylor, carried away by the music, was yanked offstage at the last moment. The performance, entitled Murder Ballades by Justin Peck, is a response to real life, tragic events that children have endured in Aurora and Sandy Hook.  It is a beautiful, spirited tribute to youth, but not without a sense of foreboding.

LA Dance Project Janie Taylor

‘Murder Ballades’ (Janie Taylor) Photo courtesy of Robert Torres/Celebrity Series of Boston

The final dance, On the Other Side, is an intriguing compilation by acclaimed artistic director and choreographer Benjamin Millepied.  With an extraordinary emphasis of color by costume designer Alessandro Sartori and bright, multicolored background art by Mark Bradford, On the Other Side taps into a wondrous reverie featuring dancers Stephanie Amurao, Aaron Carr, David Adrian Freeland Jr., Morgan Lugo, Robbie Moore, Rachel Rafailedes, Lilia Ruriksdottir, and Janie Taylor.  Each color in the artwork seems to come to life in each dancer as they spin, twirl, and skip along.  The piano tune, by Philip Glass, also builds to a crescendo as duets perform a mix of traditional ballet and contemporary dance and then gather center stage, as if yanked out of a reverie.

LA Dance Project Rachelle Rafailedes

‘On the Other Side’ (Rachelle Rafailedes) Photo courtesy of Robert Torres/Celebrity Series of Boston

Click here to learn more about L.A. Dance Project and future performances.  Follow L.A. Project on Facebook.  Celebrity Series of Boston will be back for another stellar season featuring celebrity appearances, dance, comedy, and more.  Click here for more information, subscriptions, tickets, and how to support Celebrity Series of Boston.  Get further updates on Celebrity Series of Boston on Facebook.