Years ago, I saw the Joffrey Ballet perform Billboards, a collection of choreography set to music by Prince. I can honestly say without pause or agenda that this was the most significant theater event of my life; so much so that it solidified my decision to pursue dance as a career. More than a decade has past since my introduction to this ballet, yet, the images and choreography remain seared into my memory. The difference between then and now is that then, as a relatively inexperienced young dancer, I could not pinpoint what had influenced me so deeply. I was overwhelmed by the performance but I did not know why. Now, I understand that it was not only Billboards that astonished me, but the entire Joffrey Ballet. I loved the piece, but it was the clarity of vision, tone and mood demonstrated by the company that produced such an intense and dramatic effect. The Joffrey Ballet has an amazing awareness of how the music, costumes, sets, casting, and choreography in each individual piece can work together to make sense. The audience is not left wondering what they should be feeling or what inferences they should be making; there can be an unfettered focus on dance and movement. The Joffrey’s recent offering at Zellerbach Hall included three pieces that illustrate this superb coherency. In Pas des Déesses, the audience was transported to a 19th century artistic salon. Twyla Tharp’s Deuce Coupe took everyone on a trip to the beach. And finally, Sometimes it Snows in April navigated the road to heaven.
Sometimes it Snows in April is an excerpt from the larger work Billboards and represents the emotional duality that occurs on the road to heaven. The piece began with the sorrow that accompanies death. As dancers stood next to each other under dim lights, tenderly leaning their heads together, it was a scene of heartbreak. During this, the lyrics of the music talk about mourning the loss of a friend. This is the pain of death. A drastic change followed as the trail moved away from death and towards the jubilant reception of heaven. The movement became joyous, exuberant and enthusiastic with an intense diagonal sequence of Russian split leaps and grand jètés where the dancers’ joy of the movement soared. The lights became suddenly bright, revealing the sparkling white and silver costumes of the angels above. Again, every element of the piece fit into this journey from severe grief to unbridled excitement.
The performance of Billboards has stayed with me for years while many others faded away as soon as the curtain went down. I can even still remember portions of the choreography; exact steps that were done on one evening many years ago. There is really only one explanation for this and that is the profound clarity of the work by the Joffrey Ballet which was still evident last week at Zellerbach Hall.
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