Uniquely interpreted classical ballet dances come together gracefully in the Houston Ballet’s Classically Modern, a four-piece repertoire blended with remade classics, modern music and legendary choreographers and composers.
The lineup includes choreographer Stanton Welch’s "Mediaeval Baebes," based on the popular music of the English group of the same name; Hans van Manen’s modern "Solo," Jerome Robbins’s dreamy "Afternoon of a Faun" and the large-scale finale "Symphony in C" by George Balanchine.
Choreographer Stanton Welch unravels his new creation inspired by the ambitious drive of the music of the female English group Mediaeval Baebes.
This well-known classical group takes its own inspiration from medieval music and puts a modern spin to it. Welch’s dance evokes a sense of mystery and wonder as female dancers move to the chants of medieval lyrics against a dark background that is broken in red "firelight" to resemble a nighttime atmosphere.
This segment of the program details the diversity of movement in ballet and the roles of the dancers through their various solos and group dances.
In a more lighthearted and slightly humorous piece, Hans van Manen’s clever "Solo" showcases three men who compete in a tour de force to see who is the best dancer. The relationship between old and new blend uses the classical style of Johann Sebastian Bach’s Violin Suite and the modern dance style of the dancers.
Additionally, van Manen emphasizes the relationship between the dancer and the violinist as each dancer makes short, quick movements to the flurry of Bach’s notes. With 87 movements in seven minutes, it is a fast piece of entertainment and an easy transition to the next performance.
Jerome Robbins reveals his 1953 duet "Afternoon of a Faun," which was reinterpreted from the poem of the same name in which a faun awakens and falls for a nymph while in a dreamlike state. Robbins’ version tells the same story but with two young dancers in a contemporary dance studio. This encounter gives a feel for the life of dancers in a basic setting and stark lighting.
These features are simplified enough for the story, and even so, the symphonic music helps bring more depth to the scenes. Most interestingly, the overlying concept of the audience serving as the dancers’ mirror makes for unusual bodily and facial expressions that still remain coincident.
A small gasp emitted from the audience after seeing the classical display of white tutus that began "Symphony in C" set to the choreography of George Balanchine.
Instead of relying on the same experiment and newness as in the previous pieces, the dancers present timeless, classical ballet techniques with the emphasis on evenness and perfection. The grandness of it all lies in the comprised dance of a whole dance company that seems to act together in a solo.
Overall, as judged from the audience’s content reactions, the dance makes a pleasant ending even for the most traditionally minded ballet viewers.
Classically Modern is a brief demonstration of the innovation and resonance of ballet as it continues into the 21st century. For avid ballet fans who are familiar with many shows and for those who have just begun to glimpse into the art, it is a show worth seeing.
