opening night: boundless plotnikov

photo 1 afterlight

This has been the shortest theater week of my life, with tech rehearsals on stage beginning just yesterday.  That being said, it was a nearly 12-hour day spent clarifying spacing, lighting, costumes, and cues.  We moved into the Vets, staged an entire ballet, and ran a full dress rehearsal of the show, all before 10 o’clock.  I did not set foot outside the theater for over 9 hours.  9 hours, people.  We’re talking looooong day.  And today begins early once more, with another dress rehearsal on stage before tonight’s opening.

This is one of the most emotionally polarized shows I’ve ever been a part of.  Surrender expresses the turmoil of  lust, betrayal, deceit, and the ultimate triumph of love.  As choreographer, Viktor Plotnikov, says, it’s all about “surrendering to love” and “just letting things be”.  But as is the case in real relationships, the path to peace is not a smooth one.  The youngest of Plotnikov’s constantly conceiving brainchildren is Sharps and Flats, a comedy whose satirical tone could not be more opposite that of Surrender, making it the perfect foil to such a stark opening.  S&F also explores human relationships, but this time within the (slightly clumsy) structure of an orchestra of “broken musicians” navigating their way through their maniacal conductor’s ascent into musical madness.  The show closes with audience favorite, Orchis, returning from its premiere last season by popular demand.  This gravity-defying ballet leaves its audience speechless, with its dancers creating haunting, curved lines and “round shapes”, inspired by the understated beauty of drying, decaying orchids.  This is probably my favorite ballet to dance of the three, and not only for it’s breathtaking choreography but for my love of it’s inventive, commissioned score by Sonya Belousova, a young compositional genius.

If you are in the area, buy your tickets now.

If you are not in the area, buy some plane/train/bus tickets, then buy your Boundless Plotnikov tickets here.

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