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Dance Creations

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Just when you thought it was safe to view this forum, I will again reveal my ignorance by posting my impressions from the Colorado Ballet's Dance Creations program. At least this time I waited until I saw it twice before posting my thoughts. The second time, I was accompanied by a friend who is a part-time artist.

The first piece was Second Exposure, with choreography by Darrell Grand Moultrie. It got the most enthusiastic audience response of the 3 the first time I saw it. Personally, I thought that it was by far the weakest of the 3, and my friend agreed. While requiring INCREDIBLE athletic ability from the dancers, it was a bit short on "artistic merit". There didn't seem much point to it other than to let the dancers show off. It was the only one that I enjoyed less the second time I saw it than the first.

The second piece was De Profundis, with choreography by Jessica Lang and set to music by Arvo Part. While the first time I saw I didn't think it was quite as good as last year's From Foreign Lands and People, the second time I found it to be so emotionally powerful that I almost started crying. The difference might be that the first time I was in the mezzanine while today I was on the main floor. I hope people in other cities get to see this one sometime.

The third piece was Celts, choreographed by Lila York. It's a great piece to finish the season with. It's very high-energy and like Second Exposure requires a lot of athletic ability from the dancers, but it also tells definite stories. I liked it 99% as much as I liked De Profundis. My friend liked it 101% as much as she liked De Profundis.

The product on stage is still very high quality. I just hope that the Colorado Ballet's administration can get its, errr, stuff in order so that we can continue to have great shows in Denver.

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Thanks, YouOverThere, for the report. Based on my experience in a similar (mid-sized but a little isolated) dance market, audiences seem to be becoming conditioned to responding enthusiastically to highly athletic, acrobatics-enhanced performance. Do you notice, however, how quickly works like this tend to be forgotten?

It's a quick fix (for audience and possibly for box office), but much of it seems to be expendable -- or replicable in an infinite variety of other guises.

I'm glad that De Profundis seems to be the kind of work that actually stays in the memory and even grows on you.

I noticed that Colorado Ballet has announced it's 2007-08 programs. Coppellia and Corsaire included.

Colorado Ballet 2007-08

Any thoughts?

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