Again, there was no storyline but the pairings and interactions suggested relationships between the dancers. The resulting work was energetic, seamless, and fluid. He worked with the Houston Ballet dancers as he created Reflections, using their strengths and suggestions to craft the final movement. Peck’s considered among the most talented of today’s working choreographers (he’s working with Steven Spielberg on the upcoming West Side Story film), and he delivered a lovely conclusion to the evening’s program. ( Come In proves something we’ve secretly suspected for some time: Houston audiences will gladly watch principal dancer Connor Walsh do just about anything, including simply run in a circle around the stage.) Houston Ballet orchestra’s concertmaster Denise Tarrant provided an aching, beautiful performance on violin. With effortless dancing and especially strong presence, both Connor Walsh and Charles-Louis Yoshiyama stood out among the Come In performers.
One dancer would break away with a slight variation and then another and soon that sameness was shattered before being recreated. Sometimes in small groups, sometimes all together, the men often mirrored each other. Each is abstract with no storyline, each makes good use of company’s men, each employs dynamic music, and each, while contemporary, is well-grounded in classical ballet lexicon.Īszure Barton’s Come In, a Houston premiere, features 13 male dancers on a bare stage. Thursday night’s performance, with Barton’s Come In, Kylián’s Dream Time, and Peck’s Reflections, was at turns refreshing, intense, and ultimately deeply satisfying.ĭistinct in style, the three pieces have some similarities. With Premieres, a three-part mixed repertory program, those dance makers are Aszure Barton, Jiří Kylián, and Justin Peck.
One of Artistic Director Stanton Welch’s most important talents is his ability to attract world-class talent to set new works on Houston Ballet's dancers.
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