Ballet Bold(ly) Moves back to Aronoff Center

There’s a lot of excitement at Cincinnati Ballet these
days, what with a prominent new headquarters taking shape
(overlooking I-71 and downtown), a surreal season finally coming to an end and the promise of increased normalcy on the
horizon.
The final production of this strange season, Bold Moves
Plus, will take place at the Aronoff Center, downtown, in the
spacious Procter & Gamble Hall, which has been all too lonely
these last 14 months.
As with most Bold Moves programs, the emphasis is on
“new,” with four fresh choreographic pieces set to a healthy
mix of music ranging from Bach to Ray Charles.
A product of the 2020 pandemic, “kiss,” choreographed by
Stephanie Martinez, incorporates original music by Darryl J.
Hoffman and Noelle Kayser (Kayser also staged the production and designed the set), mixed with classical hits by Bach,
Mozart and Schubert.
Popular local choreographer Heather Britt offers “Until
Tomorrow,” which contrasts atmospheric music by Berlinbased Olafur Arnalds and Nils Frahm with funky Afropop from French singer Jain, and a French nod to Paul
McCartney’s “Yesterday,” sung by Hughes Aufrayl.
Harking all the way back to 1999, “Silhouettes,” by the
legendary Mark Morris, is set to solo piano music by Richard
Cumming and will be rendered live by gifted CCM professor
and Cincinnati Symphony pianist Michael Chertock.
The program closes with the half-Columbian/half-Belgian
choreographer Anabelle Lopez Ochoa’s quirky and fun
“Limoncello,” set to a bluesy, ’30s-sounding backdrop of music
by C.W. Stoneking, Paul Bley, and Ray Charles. Lemons play a
particularly important role here, positioned throughout in the
hands of each dancer.

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