Premiering on Friday, May 5, “Robbins/The Concert” opened its doors to Boston for a show of spectacular color, minimalistic costumes and laughs all across the theatre. The Boston Opera House will house the show until May 27.
There’s nothing quite like a classic ballet. This is why we go the ballet. To see something so antique, unique, something so lost in time that hundreds of people would gather to see it on a warm Friday night in Boston. The Boston Ballet’s rendition of “Sleeping Beauty” opened its doors on Friday, April 28 at the Boston Opera House and will run until May 27.
With a quick name change and a rechoreographed ending, “Artifact 2017” kicked off its opening night on Thursday, February 23 at the Boston Opera House at 539 Washington Street, Boston and will run until Sunday, March 5 with a matinee showing of the performance. “Artifact 2017” is the first show of a five-year partnership with William Forsythe, one of the most innovative choreographers of today. Boston Ballet is the first North American company to perform “Artifact” in full.
According to the Boston Globe, the ballet was created in 1984 and reimagined what a classical ballet could be. The show is unique and features more than just ballet as an art form. Memorizing choreography, spoken word and a minimalistic set and costumes are the focal points of the show, leaving the show at two hours.
The show, well extremely innovate and extraordinary, is not for everyone. While “Artifact 2017” promises classical ballet, the rest of the show is not traditional. The spoken word aspects of what looks and feels like an evil Disney-like character brought laughter to the crowd, as did an old man with a megaphone, but left those coming for a traditional ballet at a loss. The costumes were simple variations and different colored leotards and stockings, but still beautifully worn when the ballerinas danced in unison.
Also according to the Boston Globe, “The heart of the ballet’s music is a score, partly improvised, by Eva Crossman-Hecht based on Ferruccio Busoni’s piano transcription of Bach’s monumental ‘Chaconne,’ as well as a sound collage by Forsythe himself.” The show’s ending was rechoreographed, something different than the original from 1984, thus being renamed to “Artifact 2017.”
What’s better than a pirate romance made into a ballet? I can’t think of much anything better. Over the summer when Boston Ballet released its upcoming schedule of ballets, I knew I had to see this one. As a huge fan of Captain Jack Sparrow, Will Turner, Barbossa, this was my show.
Three years ago yesterday I saw my first ballet. For some reason, I love the ballet. I never took dance classes in my life, I never was a theater kid but I really just love the ballet. There’s a sense of “I don’t belong here but I’m here” and “I’m going to enjoy every second of being at the ballet.” A ballet doesn’t have words or dialogue but that’s made up for with the drama, love and passion with dance.
Last night I attended the 53rd season opener of Boston Ballet’s for “Le Corsaire” at the Boston Opera House, a story about a lovely maiden and a wealthy aristocrat who wants to add her to his harem, a part of the household reserved for wives, but a pirate wants to save her from the aristocrat. According to the Boston Globe, the story is based on a poem by Lord Byron of the same name and was created for the Bavarian State Ballet in 2007. This is the first time the ballet has been performed for Boston Ballet and was choreographed by Ivan Liška. An attempted version of the show was performed in 1997 under the name “The Pirate,” according to the Boston Globe.