The Repertory Series
For its annual modern departure, the Colorado Ballet mixes and matches contemporary and classic music and dance, once again showcasing its depth, while adding an impressive physical and spiritual vocabulary to its repertoire.
The three dances comprising this year's The Repertory Series include Antony Tudor's Leaves Are Fading, Lar Lubovitch's ... smile with my heart, and a world premiere of Dwight Rhoden's Straight Line to Never.
|Alexei Tyukov and Emily Bromberg|
in ... smile with my heart
Photo: Allen Birnbach
For those unfamiliar with the genre, this is a hefty lineup of highly-regarded choreographers with pedigree lineages.
Leaves are Fading: Tudor's homage to love during the harvest season uses classical language in the shimmering gravity of Anton Dvorak's soulful cross-hatching melodies. The season's verdant goddess bookends an exploration of solos, pairings, and ensemble interplays that begin thoughtful and poignant, absorb conflicting undertones, discover joy, add a folksy setting, and finally explore the transcendental aspects of love in a series of pas de deux featuring Maria Mosina and Igor Vassine. The Russian pair has clearly entered another realm and carry us along with them to this sublime state.
... smile with my heart: Lubovitch employs selections from Marvin Laird's Fantasie on Themes by Richard Rodgers, presented in four sections: 1) "Do I Hear a Waltz?" and "It Might As Well Be Spring"; 2) "The Sweetest Sounds"; 3) "I Didn't Know What Time It Was" and "Where Or When"; and 4) "My Funny Valentine." Simple sexy dresses and stylish shirts and pants add zest to a mix of swing-era and contemporary styles. Lubovitch's palette dazzles with inventive steps and shapes, wild flips and twirls, primo waltzes with showy lifts, seductive pas de deux, and even some rough stuff. Trust issues in one couple serve as a prelude to a pair lost in love, thankful, in the moment. Romantics will swoon over Emily Bromberg and Alexei Tyukov's magnetic "My Funny Valentine."
Straight Line to Never: How about mixing Handel and Bach with John Cage? Roden does just that and makes it look perfectly natural in the cerebral yet primitive subconscious realms of our minds, where mathematics and emotion freely associate, where zero and never are the same as as infinity and ever. Jungle beats accompanying muscular coupling and sinuous strutting, revealing themselves as the flip side of well-tempered synchronicity. Masked dancers and revisited hieroglyphic lines provide an archetypal throughline.
The Colorado Ballet's The Repertory Series runs through March 23rd at the Ellie Caulkins Opera House. 303-837-8888 or www.coloradoballet.com.