Last week at the Harmon Center for the Performing Arts, the Washington Ballet presented an engaging performance including the world premiere of Edwaard Liang’s “Wunderland,” an extremely moving piece set to music by Philip Glass and evoking a wide range of emotions. Many in the audience allowed a tear to fall as the ‘raindrops’ began to fall on stage as well. Girlfriends and I attending the performance all agreed that “Wunderland” was our favorite piece of the evening, and even tried to arrange our schedules to attend a repeat performance. We strongly suggest you see it!
But after a few days have passed, I’ve reflected on the other two pieces in the program. George Balanchine’s “Rubies” was a welcome re-introduction to the Washington Ballet for me. A classically trained dancer myself, I had previously been disappointed in the increasing moderness of the Ballet’s repertoire. Balanchine’s choreograhy in “Rubies” was a perfect mix of modern lines with the classical partnerships that traditional ballet enthusiasts have been wanting.
And to finish the show, Septime Webre’s own “Juanita y Alicia” was an entertaining storytelling of life and relationships in what appeared to be the West Indies. Live latin music accompanied the sometimes lively, sometimes sentimental choreography.
These three pieces together renewed this (former) classical ballerina’s interest in our city’s own dance company while bringing in new supporters of the arts with the performance’s entertainment and emotion.
For more on performances of the Washington Ballet, visit www.washingtonballet.org
