In his May 17 dance review, “Boston Ballet looks back and forward in ‘Spring Experience,’ ” (Living/Arts, Page B6), Jeffrey Gantz writes, “Designer Robert Perdziola’s color palette is austere … gold, silver, and white all edging into gray, and the costumes lack texture and dimension.” What I saw was a most beautiful integration and balance of color, texture, pattern, and lighting, which together created exquisite staging. The gentle, almost cloudlike backdrop worked perfectly with the equally gentle but lightly patterned costumes and beautifully complemented the choreography. Neither detracted from or dominated the others. This was perhaps the best example of Boston Ballet’s almost always superb staging, and I say that as a season subscriber going back to the 1970s.
On the latter two performances, Jiří Kylián’s “ 27’52” ” and his “Petite Mort,” Gantz’s review was mostly just an outline of the action on the stage. Both these pieces are highly complex and energetic and leave a lot to unpack and interpret. My wife and I had a long conversation about these works well into the night. Those who enjoy Boston Ballet’s contemporary performances have a lot more to look forward to than the review suggested.