Up from the orchestra floats a vaguely medieval sound: thick, sonorous and brassy. The dancers parade in solemn sequence across the softly lit stage, looking rather like harlequins in leotards. When they reach the footlights, the mood is suddenly jolted by a more familiar noise: the harsh twang of amplified guitars and the racketing thump of a rock beat. What follows this seemingly incongruous prelude is a swirling, eye-and ear-catching panoply of ballet maneuvers, from chastely classic lifts to Broadway shuffles, set to an eclectic score (by Alan Raph and Lee Holdridge) that...
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