LEARNING TO LOVETT

Lyle Lovett and the Boston Ballet are not commonly mentioned in the same breath. Throughout history, country twang and elegant pirouettes have not been known to mix well. While such a combination might create a ground-breaking and spectacular work of art, it could also have disastrous results.

It is little wonder, then, that an anxious and uncertain audience filled the Wang Center on March 21, apprehensively awaiting the world premiere of "Hot and Cool," three dances set to contemporary music including songs by Lovett himself. No two people could quite predict what the evening held in store. But by the final curtain call, everyone was in agreement. Screams, whistles, and a standing ovation proved that the performance had been an incredible and undeniable success.

The first dance, "By The Horns," proved that less truly can be more. Choreographer Danny Buraczeski took advantage of the piece's jazzy style to its fullest, letting the horns' vibrant energy shine through in the dancers' quick and perfectly-timed movements. Thanks to Pam Graham, the costume designer, the moods of the songs were radiantly displayed for all to see in both the set's briliant, one-color backdrop and the dancers' simple yet delightfully outspoken ensembles. At one upbeat moment, everything onstage glowed a brilliant orange-red. Less than a minute later, the dancers slowly swan through a sea of deep, saddened blue as the horns softly mourned. This piece alone was a captivating fusion of movement, color and music.

Lovett's music blared thorugh the speakers during the next set of songs, a toe-tapping and high-stepping piece called "Nine Lives." Much well-deserved applause was given to costume director Nong Tumsutipong, who clad the men deliciously in tight jeans and sweat-stained silk shirts, and the women in colorful and daring leotards pieced together in geometric shapes. The latter fashion statement looked somewhat odd and misplaced next to the hip-swaggering cowboys, but it was dazzling nonetheless.

Daniel Pelzig's choreography, which blissfully wove both graceful elegance and gutsy heart, was also a perfect compliment to Lovett's soulful and catchy music. The entire company glided and twirled across the stage with nothing short of perfection, but Pollyana Ribeiro and Viktor Plotnikov, in particular, captured the audience's gaze and adoration. Their enormous ranges of talent--from suave sophistication to "get-down" showiness and from poignant emotion to joyful enthusiasm--was a delight to behold.

The final piece, and most spectacular of all, was simply titled "Celts." The choreography, courtesy of Lila York, was absolutely breathtaking. Filled with complicated jumps and intricate foot movements, this dance undoubtedly gave even the most experienced of the dancers quite a challenge.

"Celts" throbbed with more than just ordinary energy and enthusiasm. From the raging men in kilts to the heartbroken lovers twirling across stage to the fields filled with nearly-glowing fairies, every movement pulsed with free-flowing passion. Costume designer Tunji Dada displayed nothing short of brillinace by setting the fairies' stunning off-white rags, the head dancer's billowing black ensemble, and the lovers' deep crimson costumes against a deep gray backdrop of threatening thunderclouds. The energy of the coming storm pulsed through the thunderous music and the lightning-quick motions of the dancers, ensnaring the audience and lifting it to its feet with torrents of applause.

One of the most remarkable traits of "Hot and Cool" is that, although each piece is remarkably impressive, the one that follows is even more spectacular. By the end of the evening, it was little wonder that the audience enthusiastically leapt to its feet--the most breathtaking set of dances, for both the audience and the undoubtedly-exhausted dancers, had just finished. The evening started off on an exciting note, and went on to finish on an absolutely amazing one.

The Boston Ballet has triumphed once again with the world premiere of "Hot and Cool." If you're looking for excitement, intrigue and beauty, look no further than the Wang Center. This is one performance guaranteed to leave both its audiences and its dancers breathless and thrilled.