Ballet West’s “Journeys and Reflections” is, in a word, stunning. Telling three separate stories in three distinct technical styles, this show is sure to keep you entertained.
It is perfect for both the seasoned patron and the first time ballet admirer. The company is expressive, impressive and lovely.
“Chaconne” is a piece choreographed originally by the great George Balanchine. It is a heavenly spectacle reminiscent of 18th century court dances. Don’t be fooled by the sparkling etherial costumes and flirtatious smiling air, though; these dances are extremely challenging although you wouldn’t know that from watching Ballet West do them. Beckanne Sisk and Chase O’Connell were featured as principal dancers for the show. O’Connell is the newest appointed principal at Ballet West and a joy to watch.
“Facades,” choreographed by Garrett Smith, was commissioned by Ballet West as a newly revised premiere. It delves into ideas about reflection and identity by dividing the stage in half and creating a mirror. The piece is set to selections from Vivaldi, the costumes were gorgeously corseted tutus and rather odd looking body suits with jackets on the men. The look was a modern echo of the French Renaissance, though the cut of the mens’ costumes seemed rather strange and slightly distorted.
The choreography was a brilliant combination of quick and slow movements picking out contrasting timing in the music. Most impressive in this piece was the flawless synchronicity between dancers who mirrored each other even through complex lift sections. This was most spectacular in the interaction between Allison Debona and Emily Adams. This piece is everything a modern ballet could hope to be: creative, innovative and visually breathtaking.
The third piece first premiered in 1932 and is an anti-war ballet about World War I. “The Green Table” opens with several politicians arguing in a stylized garish fashion over the next move.
Each of the eight scenes ends with the entrance of death who is invited into this world by the politicians when they fail to set aside their own desires to achieve unity and instead pull out guns. Death as a character was interesting in this rendition. Played by Ronald Tilton, Death’s movements were sharp and assertive. His costume was a series of leather bands that gave him a skeletal look, a leather mini skirt and a headdress.
Death was contrasted by the Profiteer, played by Christopher Sellars. The Profiteer came into each scene shortly after Death left and took from the victims both alive and dead. He is one of the most interesting characters with a playful yet menacing demeanor. The women of “The Green Table” make this dancing tableau. The Young Girl, played by Chelsea Keefer, has a heart wrenching duet with death.
Overall this show is well worth seeing. Some of the costuming failed to reach Ballet West’s typically very high standards but they made up for it in the choreography and sheer brilliance of the performance. The show opened April 7 and will close April 15. The run time is two hours and 15 minutes with two intermissions. Ticket prices range from $19-87, and can be purchased here: https://arttix.artsaltlake.org.
Be advised, blanks are fired onstage.