The three dancers deployed to intensely watch the other three, in the most memorable episode, share a bowl of popcorn as they behold the chaos, before spilling the remainder of the popcorn in their excitement. “I practice myth making from a queer and feminist perspective,” she says at her website, but there was no reason to feel threatened by her new work, which has comical and satirical overtones despite the black unisex costuming and Ingel’s explicit intent to project chaos. Sarah Ingel, who choreographed “Nebulous Reverence,” actually works behind the scenes at Charlotte Ballet as a production assistant – and with femme and queer performance makers across the Southeast. The epigraph embedded by Foss in the playbill enjoins us to pay heed to Mother Nature: “Her power brings life and beauty but can just as easily wield chaos and death.” The other dancers lifted him up, turned him upside-down, revolved him like the hand on a clock, and then carried him solemnly like a corpse at a funeral before restoring him upstage center to his throne. At this point Cooke himself didn’t dance. Two couples were deployed on each side of Cooke, and the ninth dancer, a female, stood vigilantly behind him, there to take hold of his cello when the singer stood up and was incorporated into the dance. During most of the dance, Foss had his partner, composer and cellist Ian Cooke, seated center stage, playing and singing his original song, “Sterling.” Surrounding him were nine dancers in symmetrical formations, variously evoking a royal court, a worshipful adoration, or a campfire. “Mile Marker 123” by Colby Foss would remain my favorite new piece of the evening, largely because it was so completely produced, with lighting, staging, music, and dance unifying so effectively. Then it was unmistakable – and irresistible. Most of us were likely wondering where the groove was until we heard Olle Nyman singing “Heart & Soul” as all eight dancers joined in. After insinuating themselves among the women, the men came to the fore in “Yumeji’s Theme,” music by Shigeru Umebayashi that had an unmistakable waltz-tempo lilt. as a “neoclassical work with a groove,” for the eight dancers, evenly divided by gender, all wore ballet shoes and costumes, with the women particularly prevailed upon to work en pointe in the opening section to music by Jonny Greenwood that sounded like a Bach partita. “Movement in 3” was accurately described by choreographer Maurice Mouzon Jr. The trio of new pieces before intermission was especially impressive, two of them featuring new music, one performed live by the composer. Somehow, the idea that Charlotte Ballet was alive and kicking became even more intense than with even the long-dormant Tchaikovsky ballet, for now the sounds and the styles were more contemporary. Giving extra polish to the production, each new dance was preceded by a video in which the choreographer discussed his or her aims and process.

In more than a couple of instances, new music was created especially for the new works.

Naturally, all seven dances on this fresh program were created and developed in-house, with members of the two Charlotte Ballet troupes trying their hands at choreography, all working with their colleagues at the McBride/Bonnefoux “lab” to bring the new dances to fruition. Five days after that run – with plenty of rehearsal during the run, we can presume – another swarm of Charlotte Ballet and Charlotte Ballet II dancers darted to and fro across the studio at the Patricia McBride/Jean-Pierre Bonnefoux Center for Dance for the third edition of Choreographic Lab, also postponed for two years.

That new piece ran for 11 performances over two weeks at Knight Theater to a trimmed Tchaikovsky score, with no fewer than four Charlotte Ballet dancers playing each of the lead roles, Princess Aurora, Prince Florimund, and the Lilac Fairy. Ending April and plunging into May, the company unveiled the world premiere of Sleeping Beauty: A Fairy Tailored Classic, with choreography by Matthew Hart – a ballet about a sleeping princess that had slumbered for two years prior to its pandemic-postponed awakening. May 13, 2022, Charlotte, NC – We’ve been seeing plenty from Charlotte Ballet in the past month. Review: Charlotte Ballet’s Choreographic Lab By Perry Tannenbaum

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