![]() What the crowd saw first, however, was the stunning curtain Jeffrey Gibson designed: Three bull’s eyes in brilliant red, blue, green, orange and yellow surrounded by thousands of small triangles. Danced to four of Copland’s famous scores: “Fanfare for the Common Man,” four dance episodes from “Rodeo,” “Appalachian Spring,” and “Billy the Kid,” the ballet premiered in January. Thursday afternoon featured the SPAC premiere of Justin Peck’s new ballet, “Copland Dance Episodes.” And what a sensation it was. The audience got those dances, too, and gave a standing ovation. One of those had two male dancers finding solace and love with each other in a charming duet. Broken up into various segments to match Blake’s various songs, which themselves used sometimes unusual instrumentation or electronic effects, some dances told a story. With James Blake’s taped music, gender ambiguous and Baroque-hinted costumes from Giles Deacon, and Dan Scully’s shadowy lighting, Kyle Abraham’s choreography for 16 dancers bounced, flitted and enticed. “Love Letter (on shuffle)” was an enigmatic contrast. The orchestra under Andrews Sill sounded fabulous throughout all the dances. ![]() The audience got it and gave a standing ovation. It was like a story in which each line or second had meaning. ![]() Every arm gesture was mirrored exactly horizontal lines were developed slowly in fluid motions with long arms and legs and Adams’ beautifully arched back. Danced to Arvo Part’s haunting score, which featured violinist Kurt Nikkanen, the duo of Sara Adams and Jovani Furlan moved together as one, so close were their moves. The most thought-provoking and heart-stopping ballet was Christopher Wheeldon’s “Liturgy,” which premiered in 2003. It ended that way, too, much to the crowd’s audible delight. Reisen started the dance with everyone in a pose before heading out. Solange Knowles’ music pushed the energy levels. Alejandro Gomez Palomo’s costumes scintillated with Swarovski crystals as the ten dancers in fabulous shades of tangerine, turquoise, lilacs, yellows, a striking red and blues spun across the stage working the angles with perky, tight steps or supple, long fluid lines all choreographed by Gianna Reisen. A solo from Anthony Huxley was especially well done.Įven more sparkle was on view for “Play Time” which premiered last September. The ten dancers swirled, jumped, spun as a corps, in pairs for a playful, summery mood to match Stravinsky’s frothy score. The curtain opened on Jules de Balincourt’s backdrop of vertical lines in brilliant shades of corals, greens, yellow, brown that were mirrored in the horizontal lines of the ten dancers’ costumes designed by Reid Bartelme and Harriet Jung. The night started with “Scherzo Fantastique,” which premiered in 2016 with choreography by Justin Peck. Color, vivid costumes, textured lighting and choreography that knocked the socks off the large crowd, who whooped and cheered and gave standing ovations, made the evening an event.
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