Skip to main content

Joffrey Ballet of Chicago: Bolero

Joffrey's Bolero

Performing arts companies are stressed into creative innovation even more than usual during the Covid panic of 2020–21. One of the best responses has been by Chicago's Joffrey Ballet. As evidence, I offer this 19-minute new work recently published by the Joffrey on YouTube. The replay of the February 27th world premier will be available on YouTube through March 1, 2021 according to the most recent information I have.

Joffrey Ballet of Chicago presents Bolero

What would Maurice Ravel say were he able to see this incredible production using his iconic "experiment" Bolero? My guess is that he would not only approve, but enthusiastically so. Music is first-class (a London Symphony recording) and production values are high thanks to Jack Mehler's lighting and Big Foot Media directed by Tim Whalen. Choreography was by Yoshihisa Arai with Costumes by Temur Suluashvili, both Joffrey artists who we are more accustomed to see as dancers rather than the roles they played in this production.

But the real stars are, of course, the Joffrey dancers, Anais Bueno, who danced the solo muse, a difficult role both physically and emotionally, and the cast of 8 men and 6 women who accompanied her. Bueno's sultry and alluring temptations grow in intensity along with the music.

Do yourself a favor and take a break to enjoy this impressive production. Like the music, the choreography progresses from a quiet and subdued opening, increasing in intensity through 18 repetitions of the same melodic material without variation except for a single dalliance to a related key near the end of the piece. Ravel's own instructions for the piece were to end "as loudly as possible," an admonition reflected in the choreography.

Five stars. Bravo! Joffrey!

 

Comments

Popular posts from this blog

Life After Facebook

Life After Facebook Reflections on How Life Improves When Social Media Is Abandoned The Problem Most people that use Facebook regularly will quickly admit to the fact that the social media platform is highly addictive as well as an almost complete waste of time. We will do almost anything to generate that endorphin-stimulating "Like" that others bestow on our egos so easily and thoughtlessly. We post meme after meme or make silly and pointless comments or "respond" to someone else's pointless posting with our own pointless emoji so easily delivered. Underlying all of this activity many if not most people will discover, if they look deeply into their own hearts, that the quest is not unlike the quest for the Holy Grail. Like The Quest for the Grail, the reward is to become a highly valued citizen, respected and admired for our perceptive insights and even, perhaps, leadership toward some sort of ShangriLa that is only dimly imagined. Like the Quest for the Gra...

Independence Day, 2021

Independence Day, 2021 Some reflections after a walk in Winnemac Park The Walk I live near Winnemac Park on Chicago's North side, a forty-acre jewel that has five baseball diamonds, a soccer field, a prairie reconstruction, a children's play-lot and some community gardens. It is bordered by Chappell Elementary School on the West and Amundsen High School on the East. (None of the Chappel kids wear full armor to school and most of the Amundsen kids are not blond Swedes despite the Chappel "Knight" mascot and the Amundsen "Viking" mascot.) There are apparently no descendants of knights or vikings around to object to cultural appropriation, so for the moment the mascots are secure in their sinecures. The park also features Jorndt Field, a football field with an artificial surface believed to have a capacity of 6,000 spectators. (I was unable to find a definitive answer to this question using Google.) By walking around the edges of the park and making a back...

The Gentleman Caller

Raven Theater,  6157 N Clark St, Chicago, IL 60660 Now thru May 27, 2018 Raven Theater Website Friday evening (April 27, 2018) I had a remarkable experience attending a performance of The Gentleman Caller, a world premier production of a Philip Dawkins play. The play attempts to imagine what might have happened when Tennessee Williams met William Inge in Inge’s St. Louis garden apartment and later in a Chicago hotel room in 1944 and 1945. We don’t know exactly what took place, except that Williams encouraged Inge to pursue play-writing. Dawkins’ script attempts to recreate those moments based on what we know of the two men’s lives. The fact that the program has a credit for David Wooley as Fight & Intimacy Choreographer should alert you to some of the play’s content. (The extent of the fighting was a single face slap as I recall, if that helps you imagine more clearly.) Both Williams and Inge were homosexual, although radically different in their self-acceptance and ultim...