Performance Dates
Friday, April 2 Senior Dress Rehearsal
Friday, April 2
Saturday, April 3
Sunday, April 4
Thursday, April 8
Friday, April 9
One of the most influential ballets of the last century makes its long-awaited Columbus premiere.
Reed Luplau creates a World Premiere on BalletMet Company Dancers.
Remi Wörtmeyer returns with 'Passing Shadows,' a contemporary ballet inspired by Gustav Klimt’s painting 'The Kiss.'
Show Details
Run Time and Descriptions Approximately 1.5 hours
This is a mixed-rep ballet. Mixed-rep ballets are several unrelated short ballets with intermissions, similar to a collection of short stories.
Choreography William Forsythe In the Middle, Somewhat Elevated
William Forsythe is a radical innovator in choreography and dance. For more than four decades, he has redefined the syntax and praxis of his field, exerting unparalleled influence on subsequent generations of artists. Over the course of his career, he has developed an extensive repertoire of groundbreaking ballet choreographies and experimental, non-proscenium-based dance-theater works, as well as an open-access digital platform for dance analysis, notation, and improvisation. His works are featured in the repertoire of many of the world’s major ballet companies, including Paris Opera Ballet; Mariinsky Ballet, Saint Petersburg; Semperoper Ballet, Dresden, Germany; Royal Ballet, London; New York City Ballet; San Francisco Ballet; Boston Ballet; and the National Ballet of Canada. Parallel with the evolution of his choreographic performances, Forsythe has worked for more than twenty years on installations, film works, and discrete, interactive sculptures, which he calls “choreographic objects.”
Forsythe was born in 1949 in New York. He was resident choreographer of the Stuttgart Ballet, Germany, from 1976 to 1984, and director of Ballet Frankfurt, Germany, from 1984 to 2004. He established and directed the Forsythe Company from 2005 to 2015, and was most recently artistic advisor to the Paris Opera. He was named an honorary fellow of the Laban Centre for Movement and Dance in London and holds an honorary doctorate from the Juilliard School in New York. Solo museum exhibitions include Proliferation and Perfect Disorder, Pinakothek der Moderne, Munich (2006); Additive Inverse, 21_21 Design Sight, Tokyo (2007); Focus on Forsythe, Sadler’s Wells and Tate Modern, London (2009); Transfigurations, Wexner Center for the Arts, Columbus, Ohio (2009); Nowhere and Everywhere, Museum Folkwang, Essen, Germany (2013); The Fact of Matter, Museum für Moderne Kunst, Frankfurt, Germany (2015); and Wanås Konst, Knislinge, Sweden (2017). Beginning in 1989 with a special commission by architect Daniel Libeskind, The Books of Groningen, Forsythe has produced numerous installations, among them Tight Roaring Circle, Artangel, London (1997); Nowhere and Everywhere at the Same Time, Creative Time, New York (2005); and Black Flags, Staatliche Kunstsammlungen Dresden, Germany (2014–15). He has participated in the Whitney Biennial (1997); Biennale di Venezia, Venice (2005, 2009, 2012, 2014); and Sydney Biennale (2016).
Forsythe has received several awards, including the title of Commander of the French Order of Arts and Letters (1999); Hessische Kulturpreis/Hessian Culture Prize (1995); German Distinguished Service Cross (1997); Wexner Prize (2002); Golden Lion of the Biennale di Venezia (2010); Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement (2012); and Grand Prix de la SACD (2016).
Forsythe lives and works in Vermont.
Choreography Remi Wörtmeyer Passing Shadows
Born in Adelaide, Australia, Mr. Wörtmeyer is a multi-award-winning choreographer, dancer, designer (of décor, costumes and fashion) and teacher who trained in classical dance at The Australian Ballet School.
Formerly a principal with Dutch National Ballet, he also danced with The Australian Ballet and American Ballet Theatre and guested internationally, dancing on the world’s greatest stages including Sydney Opera House, New York’s Metropolitan Opera House, The London Coliseum and Sadler’s Wells, St Petersburg’s Alexandrinsky Theatre, New National Theatre Tokyo, the Grand Theatres of Shanghai and Hong Kong, National Centre for the Performing Arts Bejing, Palais de Congrès and Théâtre du Châtelet Paris.
Mr. Wörtmeyer’s one-act and evening-length choreographic works include creations for Dutch National Ballet, Queensland Ballet, Royal Concertgebouw Orchestra, Benois de la Danse, and a bespoke pas de deux – Penumbra – for Roberto Bolle and Melissa Hamilton (Arena di Verona, 2022). Remi’s ballet Significant Others (on the subject of artists Sonia and Robert Delauney) headlined Atlanta Ballet’s spring season earlier this year.
Remi’s fashion and sculptural works have been exhibited by galleries in Amsterdam, Sydney and Berlin. His collaboration with haute couturier Ronald van der Kamp saw him debut his own high-end handmade sculptural jewellery as part of RVDK’s spring/summer 2023 collection at Paris Fashion Week.
Mr. Wörtmeyer was named Artistic Director of BalletMet in June 2024 where he will continue to choreograph new works for companies both domestically and abroad.
Choreography Reed Luplau World Premiere
Reed Luplau was born in Perth, Australia, and started dancing at 18 months at his mother’s studio, Jody Marshall Dance Company. Before graduating from the Australian Ballet School, Reed was invited by then-Artistic Directors Graeme Murphy and Janet Vernon to join the Sydney Dance Company, where he performed and choreographed for five years. Moving to New York City in 2009, Reed has performed for Stephen Petronio Company, Aszure Barton & Artists, and Lar Lubovitch Dance Company.
After years of performing on Broadway, Reed has recently taken the creative route with theater choreographic credits, including the brand new musical Ten Brave Seconds, Head Over Heels, Disney Cruise Line, Broadway Bares, and an ASL production of Spring Awakening. Other choreographic endeavors include the films Places, Please, PHISH at Madison Square Garden, Macy’s Thanksgiving Day Parade, and The Brooks Brothers 100th Birthday Celebration. In the ballet world, Reed has created works for The Australian Ballet, Sydney Dance Company, and West Australian Ballet.
Reed’s performer Theater credits include the original Broadway casts of Moulin Rouge! The Musical and Natasha, Pierre and The Great Comet of 1812. The original revival cast of Fiddler on the Roof, directed by Bartlett Sher and choreographed by Hofesh Schecter. Off-Broadway – ONLY GOLD by Andy Blankenbuehler, David Henry Hwang’s Kung Fu, Opera credits include playing the principal role of ‘Bosie’ in the production OSCAR, directed by Kevin Newbury for the Santa Fe Opera and Opera Philadelphia. Puck in A Midsummer Night’s Dream directed by Netia Jones and choreographed by Reed.
Film/TV credits include the role of Theo in Alan Brown’s Five Dances, HALSTON, Maisel, Fosse/Verdon, Mozart in the Jungle, The Sixth Borough, and Mao’s Last Dancer.
Reed is the co-creator, choreographer, and director of When We Touch, a dance narrative with music by the incomparable LP that explores the relationship of a mother and son in a communist regime damaged by politics and beliefs. When We Touch is in development, more information will be released soon.
Digital Tickets
See below for quick answers to common questions regarding the BalletMet Digital Ticket Wallet!
Davidson Theatre
Get DirectionsMake A Night Of It With Entertainment Before And After The Show.
FAQ
Where do I park?
There are parking garages near the Ohio and the Capitol theatres, as well as limited metered street parking (most of which is free after 6 pm and on Sundays).
Ohio Statehouse Parking Garage
Enter from westbound Broad Street or Third Street.
Riffe Center Parking Garage
Enter from Front Street. Take the elevators to the third floor and proceed along the hall to the Davidson Theatre. (For the Box Office or Will Call, descend the escalators to the first floor.)
Downtown traffic can be heavy, so please plan ahead. We recommend arriving 20-30 minutes early to park, find your seat, explore the program and relax before the performance. Audience members who arrive late may not be seated until intermission.
What do I wear?
This is our most-asked question, and the answer is: You probably won’t feel out of place no matter what you wear. If you want to wear jeans, go for it—we promise you won’t be alone. If you want to dress up, feel free. Many others do, too. We don’t see as much formal-wear in the theater as we once did, though it wouldn’t be unusual to see a tux or a gown at a performance. Basically, anything goes.
Do the dancers talk?
No, dancers express the story or meaning through the movement. In some story ballets, dancers will use pantomime (exaggerated movements) to help you understand what’s happening. If you see a ballet with pantomime, head to the lobby, where we’ll have more information and guidance. If you ever struggle to follow along, feel free to chat with a BalletMet staff member in the lobby who will happily answer any questions you have.
When do I clap?
If you are wowed by something you just saw, please do applaud. At BalletMet, we love to hear clapping. It’s uplifting to those performing, as they can often feel your excitement and energy on stage. So applaud whenever you see fit! Note: Not every ballet company feels this way, so keep that in mind if you happen to be at another company’s performance.
Ticket Policy
All sales are final and tickets are non-refundable. Casting, program, schedule, and pricing subject to change without notice. BalletMet reserves the right to return and refund any tickets identified as being sold above face value, minus ticket fees.
Images by Jennifer Zmuda, Jack Devant