‘Shostakovich/Writing Ground’ by Alonzo King with LINES Ballet ~ review

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Meredith Webster and men in Writing Ground – Margo Moritz (Alonzo King’s LINES Ballet)

Right from the opening, it was obvious why the company is called LINES ballet: the simplicity of the lighting, decor, and costumes meant you could completely focus on the stunning lines created by the dancers’ incredibly fluid bodies. It was almost like watching a series of still photographs, swept up into a swirl of movement.

In Shostakovich, even the strip of lighting at the back and a portable rod of light incorporated into the choreography subtly referred to the lines of the company name.

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Shostakovich – Quinn B. Wharton (Alonzo King’s LINES Ballet)

The dancers were statuesque and muscular, yet endlessly graceful and often vulnerable. Every moment was picture-perfect; the beautiful solos, duets and group dances made me feel as if I was dreaming.

I found ‘Writing Ground’ more meaningful than Shostakovich; it was very spiritual. This piece was full of wonder, but at the same time anguished. It began with the performers appearing with a cloud floating magically above them. In some scenes, the dancers were moving towards what appeared to be a sunrise as if worshipping it; in other scenes, some looked as if they were being torn apart and then drawn together again. This was accompanied by beautiful, sacred music.

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Kara Wilkes and Robb Beresford in Writing Ground – Margo Moritz (Alonzo King’s LINES Ballet)

Throughout the two pieces, there was a feeling of something coming from very deep inside. Seeing this show left me wanting to see more pieces from Alonzo King’s contemporary ballet repertoire and his amazing dancers.

If you would like to find out more about Alonzo King and LINES Ballet, you can go to http://www.linesballet.org

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