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Boston Ballet’s Parts In Suite

Boston Ballet’s first showcase for 2018 opened Friday, March 9th at the Boston Opera House with Parts In Suite. The showcase featured a trio of works by Boston Ballet’s resident choreographer, Jorma Elo’s, “Bach Cello Suites” (2015/2018), followed by New York City Ballet’s resident choreographer, Justin Peck’s, “In Creases” (2012), and then William Forsythe’s, “Pas/Parts,” but with a 2018 version, which added new vision and style.

(Paulo Arrais and Lia Cirio in Jorma Elo’s Bach Cello Suites; photo by Rosalie O’Connor, courtesy Boston Ballet)

Each performance was dazzling on its own with each dancer flowing with energy throughout the performance. Elo’s “Bach Cello Suites” began with a single cello and followed with strings of dancers moving at a smooth and elegant pace. The story felt the most somber of the three, but exuded the perfect emotion to get the audience invested. 

“In Creases,” which was my favorite, opened the second portion. As the curtain rose, the audience saw an empty stage with two grand pianos nearly connected. The dancers moved freely and with positive passion. While every section was more of a contemporary style of ballet, “In Creases” felt traditionally right at home with its grand piano rhythm and mood. 

(The Joffrey Ballet in Justin Peck’s In Creases; photo by Cheryl Mann, courtesy The Joffrey Ballet)

The final “Pas/Parts 2018” was an extraordinary use of sharp sounds. The stage left many in awe with white backdrops surrounding all three sides of the dancers and changing colors as the music and mood shifted. The quirky choreography matched the flow of the music and left even some of the audience giggling at how unique and sweet some moments were, like when the duo of two ballerinas high fived mid way through and elegant arabesque.

Parts In Suite was a perfectly combined trio of choreography that wowed audiences and kept them wanting more.

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