Boston Ballet opened Parts in Suite, a triple-bill program featuring work by three powerhouse choreographers: Justin Peck, Jorma Elo and William Forsythe. For Boston, this will be the first time seeing Mr. Peck’s In Creases and Mr. Forsythe’s Pas/Parts 2018. The third, Mr. Elo’s Bach Cello Suites, was a hit with audiences and dancers alike when premiered at Boston Ballet in 2015.
The Boston Dance Journal spoke with Mr. Elo, and the stagers for In Creases (former Miami City Ballet Principal Patricia Delgado) and Pas/Parts 2018 (Harvard Dance Director Jill Johnson). With deep personal knowledge with the three pieces and time rehearsing with Boston Ballet, the three gave an inside scoop of what to expect from Parts in Suite.
For Patricia Delgado, working on Justin Peck’s In Creases is a first shot at staging. After retiring as a principal dancer from Miami City Ballet last April, Mr. Peck asked her to set his first-ever ballet on Boston Ballet.
“I definitely love his work,” says Ms. Delgado, who has danced a number of Mr. Peck’s works, including In Creases. “I feel like it feels like my body understands it, and I get where his brain goes to describe things, like the images he uses and the way he communicates what he wants.”
Ms. Delgado, who spoke with The Boston Dance Journal while rehearsing the ballet in Boston last September, describes In Creases as geometrical, avante garde and witty. As New York City Ballet’s resident choreographer, Mr. Peck is heavily influenced by George Balanchine’s neoclassical style of dance. Throughout the ballet, Mr. Peck varies the dynamics by alternating moments of symmetry and organized chaos.
“There are moments where [the dancers] come together, and it’s moments of relief,” Ms. Delgado says. “People are like, ‘Oh wow, everyone’s dancing together, it’s a moment of harmony.’ And then there’s moments of breakdown. . . . “Where I think Justin is coming from is, in life those moments of chaos, and then the moments of complete unison.”
The ballet’s score was written by Philip Glass. Mr. Peck was hesitant to select music by Glass since he is often used in ballets, but Ms. Delgado says that the choreographer was inspired by this piece of music, Because many choreographers have used Glass music, which features two pianos. The pianos appear onstage facing each other, as if dueling.
Onstage with the pianos, Ms. Delgado says the dancers of Boston Ballet are well-equipped to embody Mr. Peck’s vision. She praises the company for its intelligence, versatility, receptiveness and community dynamic—all essential elements in In Creases, she says: “It’s been amazing working on the Boston Ballet dancers because they’re like sponges. They can just grab onto anything you give them, but they’re also so pure in their technique.”
“I love Boston Ballet,” she says. “I’ve always admired them from afar, from like, when I was a kid. It was such an honor to get my first staging with them. I was very intimidated at first, but now I’m just inspired.”
See Boston Ballet perform Parts in Suite at the Boston Opera House, March 9–April 7. Buy tickets >>