The Elks Lodge, Newport, RI.
October 18, 2026.
“If you look inside, the whole lot else escapes,” poetically quipped Danielle Genest whereas introducing Newport Up to date Ballet’s 2026-2027 Season Opener Kaleidoscope. She mentioned how by means of a kaleidoscope, components akin to gentle, form and coloration continuously shift and alter. Artwork evolves in the identical manner. And so can we.
A lot meals for thought earlier than anybody danced a step! But, this system provided such a kaleidoscopic view: of various atmospheres, aesthetics and moods. All in all, this system set the tone for an thrilling season to return. It had me leaving the venue with a lot to show round in my thoughts – after this commendable firm danced many steps, certainly.
This system kicked off with the atmospheric and poignant Nightshades (2026), from Genest, the Firm’s Creative Govt Director. The ensemble started with rising slowly, holding a gesture. They discovered variance of course as they moved in unison – variance that they introduced farther into the stage house as motion gained measurement.
As motion so escalated, it displayed memorable kinetic resonance: spines rippling, a attain extending previous its endpoint, momentum transferring from one dancer to a different in a weight shift. These reverberations created a soothing sense of continuity, but in addition thriller; the place a motion would lead felt unsure. Such diachotomy appeared to underscore the “duality, secrets and techniques and forbidden data” inside Genest’s acknowledged theme: gentle and shadow texturing the view within the kaleidoscope.
A solo from Sarah Murphy carried the ensemble’s high quality of continuity – her rock-solid power as basis for fluidity. A following duet added dimension by means of one other transferring physique. I considered transferring shadows within the night time, fluctuating in thickness and texture. The midnight hues and variable shapes in Josh Thake’s costumes undergirded that feeling.
The ensemble returned. They moved by means of complicated timing and formation shifts with true unstated understanding – together with these new to the corporate this yr, Ena Nomoto and Erik Osterkil. I additionally seen at this level a reflective, inner high quality in sure gestures: a hand drawing beneath chin and throughout brow. I considered wanting up on the night time sky and reviewing the day behind, anticipating the day forward.
Concurrent with that inwards sense was one in every of assist: catching earlier than a fall, lifting by means of a flip. That wanting backwards or forwards in time needn’t be accomplished alone. The ending part was vibrant, stuffed with zippy jumps and excessive lifts. The ending reversed the start – pointing to the infinite cycle of day and night time, perpetual shadow and light-weight. Duality is the fixed.
The shadow half however, each the unity and vitality at hand had hope rising within the ether – extra so than I’ve felt with Genest’s works up to now. I’d like to see her proceed in that course; we may all use it. But, with works like these, I’m prepared for no matter she would possibly hold providing.
Subsequent got here the considerate and rigorous Judgement and Justification (2026) from former Newport Up to date Ballet Dancer Lauren Difede. The work explores “our perceptions of manipulation, energy, closeness, and love in our interpersonal relationships and worldview,” famous this system. Costumes of stylized pedestrian put on (from Difede) positioned the ensemble as on a regular basis folks. Dancers took to their ft, in their very own turns, to work together.
There was assist in how they moved collectively, however maybe extra so a way of constraint: of stopping one other dancer’s path brief. Different webs of constraint emerged from dancers following the paths of different dancers – becoming right into a groove of conformity. Intentional gazes translated interpersonal pressure – arising in these moments of judgement and justification.
Difede’s motion was lots virtuosic and technically-grounded, but the dancers got here off as people shifting by means of interactions fairly than dancers transferring by means of sequences. That felt efficient, even vital, for this piece specifically – given its theme.
Musicality additionally felt efficient; the dancers rode the continuity of the rating’s melody (by numerous artists, together with Philip G. Anderson and Max Richter), but have been additionally exact with the concord line’s driving accents. Slower sections towards the tip translated the moments of silence inside such interpersonal pressure.
Maybe that’s when somebody leaves the room and the scenario feels unresolved – as occurred right here, with one dancer exiting stage left and pressure buzzing within the air. Then got here the opening tableau and lights down – bringing one other full-circle ending. That made me mirror on the reality that such interpersonal pressure will transpire as long as people do. We transfer ahead regardless.
Katarzyna Skarpetowska’s healthful and uplifting The Wanderers (2026) closed out this system – and thus introduced fairly the tonal shift! Additionally essentially the most classically styled of this system’s works, it mirrored the straightforward, breezy formalism of labor from dancemakers akin to Alexei Ratmansky. In its effervescent locomotion, it mirrored items like Paul Taylor’s Esplanade.
The allegro instrumental scores (by Elena Kats-Chernin and Jean-Baptise Barrière) supported such mushy and shiny classicism. Frequent use of canon timing instilled the sense of a babbling brook, flowing on and on however now and again bouncing up on a stone.
The dancers actually did appear to be wanderers – persevering with to discover completely different formations, interactions, and kinetic prospects. It was plain beautiful to see them smile by means of all of it, with many works that this firm does calling for a graver expression. These extra somber works have their significant place. So do works like these that may make us smile and really feel lighter.
As in all works in this system, the work’s assorted speeds and orientations of dancers bolstered the qualities at hand. A pas de deux (danced by Ena Nomoto and Erik Osterkil) slowed down the pace of motion, however maintained the sunshine, shiny temper. They settled into refined class as they expanded into and moved by means of Skarpetowska’s vocabulary: generally partnered, generally unbiased. An all-male part following that introduced a way of high-flying bravado to the continued lissome and joyful tone.
All of this steady motion delivered to thoughts spring, with new life buzzing all through the pure world. Maybe, now in October, we may additionally consider that as creatures busily getting ready for winter’s chill. Both manner, pure concord resonated (which Brianna L. DeLuca’s white and inexperienced costumes additionally supported). Nature’s cycles persist; steady motion continued till simply earlier than the lights dimmed.
I additionally loved seeing Emily Baker’s Shattered Glass (2026) once more, coming after intermission and earlier than The Wanderers. I noticed issues I hadn’t seen after I reviewed it this previous summer time – akin to included gestures, nuances of components like ranges and spacing, and implications of costuming. The theme of systemic limitations and repressions hit dwelling much more profoundly for me due to these much more private, small-scale decisions.
Simply as with gazes right into a kaleidoscope, we received’t expertise a murals the very same manner twice. Our lens every time has modified – whether or not from a modified context and/or how we have modified. Every look in a kaleidoscope brings innumerable issues to see: angles, colours, shapes, motion. We are able to solely recognize what we are able to handle to catch every time. The following view will carry an entire new set of infinite prospects. I’ll be there for it – till subsequent time, Newport Up to date Ballet!
By Kathryn Boland of Dance Informa.
