Ballets 129

The shimmering curtains parted to reveal a stage bathed in the soft glow of a honey-hued spotlight. It was an evocative setting, one that instantly transported me back to the era of flapper dresses and jazz-age glamour, the world that inspired this evening’s ballet, **Double Feature**. I wasn't expecting the unexpected, not in the traditional sense, but I did have my preconceived notions: I knew what Irving Berlin and Walter Donaldson were about – they're not exactly the avant-garde of composers, they’re more the familiar, warm-hearted faces of classic Americana, but tonight they seemed imbued with a new life, an intriguing freshness, a vitality that hummed through the very air in the auditorium.

This isn’t to say the choreographic execution was revolutionary, but it was certainly invigorating. This wasn't a ballet designed to challenge preconceptions, it wasn’t about a jarring reinterpretation of the form – in fact, the intention seemed to be quite the opposite. This was a tribute, an ode, a gentle and knowing nod to the artistry of those who came before. And yet, the sheer technical prowess of the dancers was a revelation. Each move seemed charged with energy, every glance a silent narrative, and the rhythmic precision was breathtaking.

The evening was split into two distinct halves, each dedicated to a different composer. It felt like stepping through a musical time portal: the first half, the Berlin portion, brought with it the classic energy of 1920s Broadway. It was upbeat, with melodies that made you want to tap your toes and, for the first time since I was a little girl, the music made me want to wear a flapper dress and dance the night away! This sense of pure joyful energy resonated throughout the stage, transforming even the simplest steps into dynamic expressions of exuberance.

• The "Always" pas de deux, choreographed to one of Berlin's best-known tunes, was particularly moving, imbued with an understated romance. It was in this moment I understood the power of minimalism in dance. With seemingly simple yet profoundly eloquent gestures, two bodies communicated a love story that unfolded not in the usual grand flourish but through delicate movements of trust and devotion.
• The music was the foundation for the entire ballet but in "Puttin' on the Ritz," a dazzling dance for a large ensemble, the choreography perfectly captured the fast-paced energy of the music. It was like witnessing a living embodiment of the classic image of flapper dresses whirling around a crowded dance floor, complete with a mischievous sparkle in the eyes of the performers. The energy was contagious, radiating from the stage and engulfing the audience.

Then, a gentle shift, a dimming of the lights, a slow waltz-like progression of the music... The second half, devoted to Donaldson, had an entirely different ambiance. It was still vintage in feel, but this was more a 1930s, silver-screen sort of elegance, evoking a sense of dreamy romanticism that felt more wistful than joyful.

• The opening ensemble dance to “My Blue Heaven,” with its gentle, almost melancholic melodies, reminded me of a vintage Hollywood film. The movements, while still meticulous and refined, possessed a subdued elegance. There was an undercurrent of wistful longing beneath the choreography. I was transported to a different era. I was reminded of silent films and elegant nightclubs, with shadows dancing across the stage like a visual representation of the unspoken emotions present in the score.
• As for “My Melancholy Baby,” it felt as if the stage became the canvas for a melancholy yet deeply captivating story. Here the choreography moved away from the rhythmic patterns and became more fluid, as if mirroring the fragility and longing within the melodies. I found myself particularly entranced by the solo, the dancer's fluid movements telling the tale of lost love. Every gesture was fraught with the emotionality of heartbreak while holding onto a faint flicker of hope. A story beautifully articulated, entirely in movement.

The dancers were truly a force to be reckoned with. They moved with a level of artistry that I find increasingly rare in this age of showmanship over substance. Each dancer brought something unique to the stage – they were not just filling space, they were embodiments of a different era, their movements capturing the spirit of those timeless melodies.

• In the "Always" pas de deux, the pair moved with an understanding of each other that bordered on telepathic, their movements as interwoven as their emotions. Their interplay seemed not choreographed, but natural. There was an organic beauty to their connection. They captured a sense of tenderness and vulnerability that felt genuine.
• In the “Puttin’ on the Ritz” sequence, it was almost as if each dancer became the embodiment of the vibrant, confident, slightly rebellious flapper spirit. They moved with a lightness and agility, punctuated with that slight touch of cheekiness, and the choreography brought this whole era back to life for me in ways I could not have imagined. I think the key was the energy: it crackled in the air.

In "My Blue Heaven,” there was a subtle sense of restrained intensity. These were dancers who understood the emotional complexity of Donaldson’s compositions. Every gesture seemed imbued with a depth that mirrored the introspective beauty of his music. In "My Melancholy Baby,” the emotions took center stage, the music became a visual narrative for heartache and a faint hope for brighter days. It was in this solo that I truly understood the power of the human form. I have always thought the power of ballet resides in it’s silent communication of a tale and this, truly, this was the embodiment of that concept.

For all of its classic charm, **Double Feature** is a ballet that transcended nostalgia. It did more than merely evoke the past – it infused the timeless music with a sense of fresh energy. The choreographic choices were subtle, nuanced, but always impactful. The music, however, took center stage. It is no wonder Berlin and Donaldson’s work remains beloved and played throughout the ages, this evening was a brilliant, beautiful example of their lasting legacy.

It's moments like these – those that leave a lingering feeling of wonder, admiration, and pure emotional satisfaction – that truly remind me why I dedicate my life to the world of dance.