Imagine entering the Wortham Theater Center for an evening with the Houston Ballet. It’s their latest mixed repertory program, Divergence, and the first thing you see is an excited ballet (and music) aficionado giddily rushing to tell a friend that he spied sandpaper and a typewriter in the orchestra pit...
.Imagine entering the Wortham Theater Center for an evening with the Houston Ballet. It’s their latest mixed repertory program,, and the first thing you see is an excited ballet aficionado giddily rushing to tell a friend that he spied sandpaper and a typewriter in the orchestra pit. If that’s not a clue to the fact that what you’re about to see may just stretch the bounds of what you’d expect to see at the ballet, I don’t know what is.
Beckanne Sisk both finds the sweetness in the music and an immediate shift into the sensual, crawling on stage with her gaze piercing and always out toward the audience. Yuriko Kajiya adds a touching, emotional element in her performance, making for quite the dramatic section. And then there’s the– an acrobatic exercise if ever there was one. But it’s not just the lifts that make it exciting – though they very much do – it’s the constant motion that most impresses.
Burke Brown contributes the set, an imposing orthogonal structure, and many a bold, theatrical lighting choice , and Fritz Masten provides the costumes, most notably those of the three astronauts, decked out like glittery C-3POs if, say, the droid was designed to the specifications of David Bowie or Elton John.
Brandon Stirling Baker’s careful lighting selections open the piece with intent, brightening as the dancers meticulously move, slowly tilting and gradually extending. Mirroring the choreography is Karl Jensen’s set, a monument in and of itself, and one of the most direct reference to Peck’s inspiration, James Turrell’sSkyspace at Rice University. The industrial piece grows, rising to loom over the stage as the piece too gathers and gains momentum.
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