Altan Dugaraa, Sarah Wroth, and Yury Yanowsky in Bella Figura
Boston Ballet artistic director Mikko Nissinen loves to play with fire. Literally, he lights The Boston Opera House stage with it. Musically, he pumps the Rolling Stones’ hit of the same name through the theater’s speakers. And figuratively, he absolutely relishes testing audiences and pushing boundaries. From March 1 through 11, Nissinen interrupts the company’s season of more classical programs with the aptly named “Play with Fire,” an evening of jolting modern works. “It represents a little bit of the strategy of introducing contemporary dance to Boston Ballet,” he says. “It’s a little risky and it’s interesting, but it’s really paid off.”
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| Sabi Varga and Andrea Schermoly in Sharp Side of Dark |
Celebrating his 10th anniversary season with the company this year, Nissinen has made unconventional performance one of his hallmarks. “Mikko has a revolutionary way of bringing contemporary dance to Boston,” says principal dancer James Whiteside, who appears in all three of the evening’s works. “There’s a certain thrill that comes with doing new work.” Especially when it moves like Jagger. A highlight of the evening is choreographer Christopher Bruce’s Rooster, set to a playlist of eight Rolling Stones songs. In a cheeky look at the battle of the sexes, men in tight velvet jackets dance alongside women in slinky dresses. “I’m a huge fan of Christopher Bruce and his choreography, and for a long time I’ve wanted to do some of his works,” Nissinen says. “Artistically it’s a no-brainer. It’s a great piece, it’s a fun piece, everybody is going to love it.” Asked to describe the choreography, Whiteside answers with a laugh, “the same way you dance at a party, but with more technique.”
Also on the bill is Bella Figura by Jirí Kylián, the master choreographer for the preeminent dance company Nederlands Dans Theatre, based in The Hague. First presented by Boston Ballet last year, Bella Figura is a piece Nissinen had waited six years to present—the time he says it took before the company and audiences alike would be prepared for such a technically challenging work. “It would be an absolute waste if we didn’t see it twice,” he says. Visually arresting, with an ethereal, dreamlike quality, Bella Figura conveys the palpable intensity of sexuality and sensuality, and is performed with partial nudity. “It’s like white-hot love, and your heart just opens. It’s a direct emotional conversation between the audience member and the piece of art,” Nissinen says.
The evening’s other piece is homegrown—crafted by Boston Ballet’s resident choreographer, Jorma Elo. First commissioned for the company in 2002, just as Elo was ending his career as a dancer, Sharp Side of Dark is performed to Bach’s Goldberg Variations and features epic architectural sets and haunting lighting. “Let me tell you, it’s a completely new piece,” Whiteside says. “It might as well be called a world premiere. One of Jorma’s favorite things is to tailor dance to specific dancers. He creates in a contemporary realm of choreography,” Nissinen adds. “It has very unique movement that is infused with classical ballet.” In total, “Play with Fire” should blaze. “Play with Fire” runs March 1–11 at Boston Opera House, 539 Washington St., 617-695-6955
