Aspen Santa Fe Ballet impresses as a group of artists that will try anything. In every dance of this program, they were fully immersed in creating a rich theatrical experience. They are not just dancers, but rather are fully engaged performers with awareness of themselves, one another, and the audience. They are dancers, actors, and thoughtful people. They come across as dedicated to bringing dance works to life and that they mostly succeed is a testament to great artistic vision. To see them do a piece once seems insufficient because everyone is doing something worth seeing and you can’t take it all in on one viewing.
Cherice Barton created Eudaemonia intending to say something about happiness and the ways we seek it. It had moments that were very good. When one dancer was standing at the tip of the stage and leaned far out into the audience with her legs held by other dancers, it was powerful. Another section had the dancers seated in chairs in a circle that looked as it might have been a group therapy session that devolved into a compelling dance. Other elements struck me as off notes that were irritating. I can’t be sure whether it was my fault or the choreography that was lacking. I feel an immediate resentment when anyone exhorts me to be happy. Am I just a curmudgeon or is pursuing happiness a banal goal? This piece was my least favorite of the night.
Alejandro Cerrudo’s Silent Ghost was a poetic ode to longing and loss. Michael Korsch’s lighting was key to enhancing the atmosphere with its soft tones. It opened with the haunting music of Kid Creosote & Jon Hopkins, a sort of Blues meditation that was itself ghostly. Special about Cerrudo’s choreograph is his ability to create intimacy between dancers with small gestures. One dancer makes a circle of his arms and his partner moves her head through the space created. They touch each other in places that aren’t used often in dance partnering: holding each other’s heads, touching just above the waist, behind the knee. These gestures draw your attention to the connection between the partners. They moved fluidly around each other and twined around, above and below, their bodies in constant contact. Cerrudo’s choreography made the most of each dancer’s ability and personality. They were all expressive and affecting.