- This event has passed.
Cincinnati Ballet Director’s Cut: Bloom, Bolero & Ibsen’s House
April 30 - May 2
Cincinnati Music Hall$20.00 – $99.00
Photo credit: Karyn Photography
Cincinnati Ballet Director’s Cut is a raw, visceral contemporary dance experience.
Audiences will experience raw, visceral contemporary dance in a triple bill of works performed by the Cincinnati Ballet alongside the Cincinnati Symphony Orchestra. The triple bull of modern dance drama includes a unique take on the wildly popular Boléro, a symbol of the #MeTooMovement, Ibsen’s House, and an emotional piece inspired by a Balinese flower ritual, Bloom.
Note: This event was originally scheduled from March 19-20.
Get a glimpse of the show in the slideshow below.
Several parking options surround Music Hall. A 450-space underground parking garage at Washington Park is located directly across Elm Street from the front doors of venue. This convenient parking garage also has handicapped parking and elevators. A surface parking lot between Music Hall and Memorial Hall is accessible from Elm Street and Central Parkway. Convenient parking is also available at the Town Center Parking (CET) Garage on Central Parkway. Pay-on-entry parking is $5-$10 for special events at all nearby lots. For more information about parking at Music Hall, call 513-744-3344.
This production tells the story of a ballet dancer from her childhood class to a professional career. The piece begins with students from the Otto M. Budig Academy at the barre. Those dancers are joined on stage by progressively older dancers until the Main Company artists enter. The dancers, all clad in red, perform an increasingly driving work that plays to Ravel’s iconic score. The dancers also improvise and perform moves and tricks that show off their specific athletic strengths and talents.
The tour de force ballet addresses Victorian repression of women through five female characters. Women of the time were often forced to choose sacrifice over self-fulfillment. While they were forced to live in ‘a man’s world,’ the dramatic tension of his plays comes from their realization of and struggle to break free from societal constraints and expectations. While the costumes reflect attire worn during the late 19th century-long skirts and suits and overcoats, they are not stuffy or heavy but flow with the movement. The scenic design includes a dramatic, illuminating window, a reference to a window in Ibsen’s house. It is a window into a world long ago, a world where women either acquiesced to expectations or chose to rebel for independence.
Set to a violin concerto, Bloom tells the story of Lopez Ochoa, who encounters puja while visiting the island as a tourist at a guesthouse. The composer explains that flowers were put on the guests’ doorsteps as a sign of honor and so the divine will protect visitors. Bloom captures the gratitude and humility of that offering. However, like all rituals including dance, there is rigor, dedication, and devotion to that ritual. The women, dress in red and perform the role of the flower, while male dancers are their protectors in this fast-moving, compelling work. Also, this production uses martial-arts movements in its choreography.