Feign (1995) was shown in a video excerpt, succeeded by Thicket for Ball, Chuang, Garfi, and Janet Blackman, both to the same Lou Harrison music. The themes of circling, enclosing, and shapemaking were extended into episodes of mutual support. Carabetta swirled intently through a song by Sam Bisbee in her own There's No Way. Another Lou Harrison extract accompanied Crabtree's closer, A Short So Long Waltz, a group dance with suggestions of three-way counterpoint.
Crabtree put together many components for this project — music, themes, old material being recovered 10 years later and then taken up by younger dancers and new choreographers. Teasingly, in performance nothing lasted for longer than about five minutes. I liked his notion of making this match, and I look forward to seeing later, more developed installments. But Thursday night, I could relate to the collection only as one dance.
Related:
Boston Ballet's 'Bella Figura', Review: Annie Baker's Circle Mirror Transformation, Body Awareness, and The Aliens, Review: Viktor Ullmann's The Emperor of Atlantis, More
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The Boston Lyric Opera, with Boston Classical Orchestra music director Steven Lipsitt and a company of singers and designers largely new to Boston, has given us a memorable production of the opera that composer Viktor Ullmann and poet Petr Kien created in 1943 at the Terezín concentration camp, The Emperor of Atlantis, or Death Quits .
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Topics:
Dance
, Dance, Brian Crabtree, Boston Center for the Arts, More
, Dance, Brian Crabtree, Boston Center for the Arts, calderwood pavilion, reviews, Less