DREAMS INTERRUPTED BALLET

American Repertory Ballet
Presents
“Dreams Interrupted”

“The accompanying music
is rapturous, eerie, and compelling.
Ms. Singleton’s choreography
brings out the best in it.” –
Jerry Hochman, CriticalDance

Watch the ARB trailer video

DREAMS INTERRUPTED BALLET

2014, Pierre Bohemond successfully composed and publish a one act ballet “Dreams Interrupted” choreographed by Trinette Singleton, a former Joffrey Ballet alumna STAR dancer (Trinette was on the cover of Time Magazine) and currently the artistic director at the Repertory Dance Theater in Allentown, PA.

“Dreams Interrupted Ballet” world Premiere Performance was held on March 21 & March 22, 2014 at the Hamilton Stage for the Performing Arts, Rahway, NJ by American Repertory Ballet Company (ARB). Other performances were held at Rider University Bart Luedeke Center, Lawrenceville, NJ and at Raritan Valley Community College, NJ. The performances received exceptional reviews from Jerry Hochman, CriticalDance

“The central focus of “Dreams Interrupted” is the battle within the woman’s mind. Passionately portrayed by Alice Cao, she is first seen walking alone in what appears to be evening (it’s dark), on her way somewhere from work, a meeting, a gathering of friends, or perhaps a bar; dressed casually, but neatly, in a skirt and blouse. She’s somewhat pensive. Suddenly, a T-shirted, animalistic man, danced by Jacopo Janelli, emerges as if from nowhere, and is practically on top of her. Their dance is mutually aggressive, he being strongly demanding, she resisting his advances with all her power. Then another man, played by Cameron Auble-Branigan, approaches her. Dressed in business shirt and tie, he is warm and gentle but no less virile, and she welcomes his advances. The action progresses to the point where the two men alternate, and the woman is at once being assaulted, and then romanced, back and forth, and then the three flee offstage.

In the subsequent scene, the woman is on her bed, wearing what passes for a nightgown. Again, suddenly, the ‘bad man’ appears (as a physical representation of her mind’s vision), succeeded shortly thereafter by the ‘good man’. The individual pas de deux continue, segueing into a threesome. At times she’s torn between them as if she’s a rope being pulled at both ends. It’s obvious at this point that these ‘men’ represent her yearnings both for excitement and danger, and for romance and security. Eventually, the ‘bad man’ is forced aside, and she dances lovingly with the ‘good man’. He then leaves, she returns to her bed, only to have the ‘bad man’ suddenly reappear from behind her, ready to pounce.

It all sounds somewhat trite and simplistic, but it isn’t. It’s a tight, dark, psychological fantasy, filled with uncomplicated but fiery dancing. My only criticism is that the opening scene is unclear – indeed, it takes a while before one realizes that the action isn’t a street mugging that might lead to a more violent act, with a knight in shining business attire coming to the woman’s rescue. But perhaps that’s the point. And if the full 11-minute piece took place in the woman’s bedroom, that would create a sense of choreographic repetitiveness that using two discrete scenes avoids. The accompanying music, apparently of the same name (by Pierre Bohemond, a contemporary composer based in Easton, PA), is rapturous, eerie, and compelling, and Ms. Singleton’s choreography brings out the best in it. It’s a very fine little piece, superbly performed by all three dancers. Mr. Janelli, a company trainee, merits particular praise for his dominating, feral performance.” – Jerry Hochman, CriticalDance

http://criticaldance.org/american-repertory-ballet-signature-deuts/