New works and fresh perspectives

The final program in our season is around the corner (Up Close on Hope, April 10-25), and though the end of the season is in sight, the company is as busy as ever preparing for a wide-ranging show. This third installment of our popular black box theatre series features a total of nine pieces, seven of which are either world premieres or company premieres. Here are a few highlights:

“NEAR ABROAD” BY SYDNEY SKYBETTER

This will be the FBP choreographic debut for Sydney Skybetter, a contemporary choreographer and recent recipient of RISCA fellowship. Sydney’s choreography has been performed around the country, most recently at the Kennedy Center, Boston Center for the Arts, and Jacob’s Pillow. Near Abroad premiered at the Dance Theater Workshop in Manhattan and was originally a dance for a man and a woman. For FBP, Sydney is adapting Near Abroad – a physically intimate yet emotionally distant pas de deux – for two men. The work references the antithetic impulse to contain yet remain separate from one another, exploring the physicality of partnership and loss.

Rhode Island premiere

Below, the choreographer performs in Near Abroad at Jacob’s Pillow in Beckett, Mass.

 

“MEIN WEG” BY JOSEPH MORRISSEY

Joseph’s choreography has been featured in recent Up Close on Hope programs (“In Passing” pictured below). Mein Weg “lays bare the ultimate stretch and strength of the body, something that classical dancers often work to disguise” according to Robert Wesner, Artistic Director of the Neos Dance Theatre, the company for which Mein Weg was created for in 2011. Set to Arvo Pärt‘s eerie and powerful score of the same name the piece makes use of a dynamic classical ballet technique throughout its intricate solos and duets. Five dancers are on their own individual path while intersecting with each other at diverse moments in time and space. Translated from German, Mein Weg means “my way.”

Rhode Island premiere

Alan Alberto and Ruth Whitney in Joseph Morrissey's "In Passing." Photo by Thomas Nola-Rion.
Alan Alberto and Ruth Whitney in Joseph Morrissey’s “In Passing.” Photo by Thomas Nola-Rion.

“ALL THE BIRDS BECOME SILENT TO THE MOON’S COMPLAINS” BY VILIA PUTRIUS

It has been a few years since long-time company dancer Vilia Putrius choreographed for her colleagues, and with this new work, Vilia makes an impressive return. All the birds is a drama following a girl from youthful innocence to womanhood and into a tragic descent into self-loathing, and eventual suicide. Throughout the emotional piece, her “former self” haunts her as other dancers symbolizing temptation, obsession, addiction torment her. The gripping scenario plays out against a heart-wrenching aria by Brazilian composer Heitor Villa-Lobos.  The translation for the Portuguese aria is below:

Evening, a rosy, slow and transparent cloud
Over the space dreamy and beautiful
The Moon sweetly appears in the horizon,
Decorating the afternoon like a nice damsel
Who rushes and dreamy adorns herself
With an anxious soul to become beautiful
Shout all Nature to the Sky and to the Earth!
All birds become silent to the Moon’s complains
And the Sea reflects its great splendor.
Softly, the shining Moon just awakes
The cruel missing that laughs and cries.
Evening, a rosy, slow and transparent cloud
Over the space dreamy and beautiful…

World premiere. Dedicated to former Lithuanian National Opera & Ballet Theater principal dancer Jonas Katakinas.

Below, the Villa-Lobos aria, conducted by Gustavo Dudamel.

“3•23” BY JORGE RULLÁN

3•23 is the professional choreographic debut of FBP trainee Jorge Rullán. The piece premiered as a last-minute addition to FBP’s recent program JuxtaPOSE at The Vets. Jorge – just 19 years old – proves he is a budding talent with powerful, moving choreography in this group work set to a dynamic and stirring score by German composer Nils Frahm.

 

Up Close on Hope Program 3 runs April 10-25. Visit our website for more information or to purchase tickets online.

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