Spring has sprung, and with spring comes the Columbia Ballet Collaborative’s Spring Performances. Each of the six pieces added a certain je ne sais quoi that contributed to the show’s cohesiveness as a whole.
“Vanilla Extract” seemed to be comment on how society strives for perfection. The dance opened on a fairly dark stage, with the dancers walking in two circles as if they were the hands of a clock. Then, one by one, the dancers slowly broke off from the line and began to pantomime washing different parts of their bodies. The motifs of straights lines and circles echoed throughout the piece, both in the the dancers’ limbs and movements. The music was static-y and lacked a solid beat, but fit the piece perfectly.
“Ellington Episodes” followed more of a storyline. The music was different instrumentals of the Duke Ellington’s works. The first song served to introduce the dancers: three ladies in sparkly, 1920s style dresses, and two guys in suspenders and button downs. In the second song, the boys overtly admire the girls’ beauty and try to catch their attention. At the end, one of the guys ran offstage with two of the girls, leaving the remaining couple for a pas de deux. The duo was slow and sweet, with a soft, slow tune to go along with it. The last piece was an upbeat, thigh slapping, hand clapping celebration, and seemed to showcase more 1920s era pieces. Overall, the each episode showed off the female dancers’ superior pointe technique and male dancers’ strength and stamina.
The next piece, “Nobody Will Miss Us,” was a stark contrast to the previous one, and a personal favorite. This dance also seemed to have episodes within it, but they were less clearly defined. The dance started with a darkened stage and dancers who covered their eyes with their hands. Each dancer wore a light purple dress with a darker purple shift underneath, and they frequently used their dresses as props during the dance. The somber mood of the dance evoked thoughts of a dark harvest dance or an initiation of some sort. The dancers’ movements and the dark stage made them appear positively ghostly.
“Valse Fantasie” was a bright Balanchine piece with lots of jumping and spinning. The dancers’ arm movements were flowy and light, and their long white tutus added to the piece’s breezy vibe.
“Solidarity” was a minimalist piece that featured live piano music. The dancers wore nude colored leotards or shorts. This piece also had a weightlessness to it, but it was more reserved than the previous dance. “Solidarity” featured three solos, two duets, and one trio. Near the end of the dance, the pairings bled into each other and became less distinct. The music was haunting and yearning, and the dance contained much dragging and many complex lifts.
“Before and After” was an upbeat piece that featured many sharp angles and lots of turns. Curiously, though the dancers were en pointe and pointed there feet as required, they flexed their feet often as well. This piece was a bright end to a diverse and captivating show.