3motions, the Colorado Ballet's final production of the season, provides a fitting multi-level description of the emotional triad of dances selected by artistic director Gil Boggs.

(Left to right) Christopher Moulton, Sean Omandam and Luis Valdes
(L to R) Christopher Moulton,
Sean Omandam and Luis Valdes
Photo: Terry Shapiro
The evening begins with Eventually, a world premiere choreographed by Brian Reeder with music by Michael Gandolfi. It's a light-hearted and witty but poignant look a life from the perspective of an elderly gentleman making his way to the mailbox. Leaning heavily on his cane, the old fellow is given a letter by his wife. We see him begin to cross the wide stage toward a standard Postal Service repository, or do we? Does he stop along the way to enjoy the energetic interplay of the street, or are these scenes recollections from his own youth?

What he witnesses spans the spectrum of life. In combinations from solo to eight, the dancers are exuberant, circumspect, self-possessed, trusting, and some emotions that are simply outside the box. The old woman's final expression is priceless.

Viacheslav Buchkovskiy as Husband and Maria Mosina as Wife
Viacheslav Buchkovskiy as Husband
and Maria Mosina as Wife
Photo: Terry Shapiro
Echoing of Trumpets, which premiered with the Royal Swedish Ballet in 1963, memorializes the village of Ludice, Czechoslovakia, completely destroyed by the Nazis in 1942. Donald Mahler's staging of Antony Tudor's choreography to Bohusiav Martinu's music removes all insignias from the uniforms of the seven soldiers, presenting us with inescapable questions about our own brutality.

Alexei Tyukov as Capitan and Sharon Wehner as Young Girl
Alexei Tyukov as Capitan
and Sharon Wehner as Young Girl
Photo: Terry Shapiro

The story takes place among smoldering ruins, as a flashback, providing an effortless catalyst to our own memories of related events. We see three soldiers tossing about and abusing a young woman. The commiseration of six women serves as counterpoint to this male aggression. We ponder Theodor Adorno's thesis (which he himself later questioned) that all poetry after Auschwitz is barbaric and decide the opposite: that only art, such as this ballet, can capture the magnitude of what happened. It is our endless wars, initiated for profit with falsified intelligence, that are barbaric.

Igor Vassine and Janelle Cooke
Igor Vassine and Janelle Cooke
Photo: Terry Shapiro
Celts—choreographed by Lila York to traditional Irish music; world premiere by Boston Ballet in 1996—serves as a welcome and uplifting renewal. The melodies and beats hearken back to Druid roots, move through traditional step-dancing, and metamorphose into modern variations. In many ways, this is the least self-conscious of the three pieces, expressing the pure pleasure of motion and emotion.

If you are thrilled by the artistry that the company exhibits in the classics, you will be enthralled by their modern work. Your support for these lesser known but equally important programs is what attracts great talent to the company. The performances deserve to be sold out.

The Colorado Ballet's 3motions runs through March 28th. 303-837-8888 or

Bob Bows


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