Ballet Nouveau Colorado’s annual “Nouveau Showcase,” along with its elegant, accessible take on “The Nutcracker,” proved the Broomfield contemporary ballet company’s ambition.
In its 14th year – barely an adolescent in the arts world – BNC continues to flaunt its mission of creating new outlets and audiences for ballet.
The company took that mission to the next level Tuesday night when it premiered two new works during a Valentine’s show at the Paramount Theatre. The show continues this weekend at the DL Parsons Theatre in Northglenn.
“Moulin Rouge,” a contemporary adaptation of the classic love story that grew out of Paris’ fin de siècle club, was choreographed by BNC artistic director Robert Mills. “Moulin Rouge” took billing in the show but first, the audience was treated to “Timeless,” a series of dances created by Danish-born choreographer Jacob Sparso and set to Ray Charles’ music.
Selecting a score that’s so deeply embedded in pop consciousness is risky; each individual who sees Sparso’s choreography is likely to harbor notions about how the songs should be interpreted through dance. The choreographer’s vision came to life with help from quietly abstract costuming and well-coordinated lighting, the exception being a botched spotlight during Mills’ “Georgia on My Mind” solo.
Sparso’s choreography oscillated between tepid ballet and explosive steps fit for Broadway. The effect contradicted Charles’ visceral delivery during “Mess Around.” Sparso’s grace was clearer during “Hallelujah I Love Her So,” and in an introspective duet set to “You Don’t Know Me.”
Pairing “Timeless” with “Moulin Rouge” is debatable.
Mills loved the idea of staging “Moulin Rouge” on Valentine’s Day but had said he wanted to “sneak in” a more abstract work. Dance devotees relish that kind of the diversity.
But performing in a larger venue meant BNC attracted more mainstream onlookers than it might at its smaller suburban spaces. People who picked this show simply because it was a good date-night option might have found Ray Charles coupled with electric-colored petticoats to be something like eating pickled herring with pumpkin pie.
“Moulin Rouge” unfolded with a colorful cast: the diva, meddling club managers, the waitress dreaming of a glamourous life, the requisite suitors.
The piece has the appeal of classic storybook ballets. But this dance company must underwrite its ambition with a smaller budget than the Colorado Ballet has when mounting shows like “Cinderella.”
Here, Ballet Nouveau Colorado stretches a thin story line into a fun dance narrative dotted with standout performances by Julia Meng as the nightclub star, Camcie Foster as the demurely charming aspiring entertainer, and Sarah Tallman as the lead cancan dancer.
Slight snafus, which likely plague any performance group inhabiting a new venue for the first time, were noticed by the audience Tuesday. The show’s start was delayed and the intermission overlong.
This production’s challenge was its scope. A contemporary ballet adaptation of “Moulin Rouge” is exciting enough – even without Sparso’s elegant contribution to the bill – that it left the audience wanting more. More of everything. In short, more “Moulin Rouge.”
Staff writer Elana Ashanti Jefferson can be reached at 303-820-1957 or ejefferson@denverpost.com.
