dance

GHDT’s ‘Cleopatra’ still shines, new season announced

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By John Lyle Belden

The Tarkington seats were half-full, but overflowing with energy from friends, supporters and dance alumni of Gregory Hancock Dance Theatre for the 2025-26 season-ending revival of its powerful version of “Antony and Cleopatra” Friday night.

If you see this as it posts, Saturday, June 6, we encourage you to see this bold take on the Shakespeare historical tragedy this evening at the Allied Solutions Center for the Performing Arts in Carmel.

Few things say “exotic” to our minds more than Egypt, and Gregory Glade Hancock with story, choreography and costumes, in collaboration with composer and musician Corey Gabel, take full liberty with that concept in bringing what the Bard adapted from history forward to give an old story a current vibe. The setting is Club Oasis, featuring celebrated drag queen Cleopatra (Thomas Mason), who encounters rock star Marc Antony (guest dancer Isaac Jones), whose passions know no limit or restraint. This complicates things for Antony’s wife Octavia (Abigail Lessaris), the sister of club owner Caesar Octavian (Olivia Payton).

Josie Moody oversees the narrative as Lamprius the Soothsayer and agent of Fate. Antony’s attendants are played by Sophie Jones and Nathalie Boyle; portraying Cleopatra’s attendants and backup dancers are Audrey Springer and Vivien Mickels. GHDT summer interns Caelan Gibbs, McCaleb Hans, Darcy Mraz, and Avery Withers are club dancers and chorus. No venomous asps were harmed.

This story of love, power and ambition taken to tragic ends is perfect for Pride Month with its non-binary approach and features a sensuous pas de deux by the male leads.

Gobel’s highly danceable pop-beat soundtrack with recorded vocals – enhancing rather than narrating the story – is woven perfectly with Hancock’s graceful high-energy visual storytelling. Costumes are colorful and appropriately daring. All this is presented with reliably excellent lighting by Ryan Koharchik.

This production is also notable for being the farewell performance for dancer Thomas Mason, performer for seven seasons as well as contributing choreographer and technical director at The Florence in The Academy of GHDT. His will be big shoes (or bare footprints) to fill.

This ends a season bookended by Corey Gabel collaborations, having started last fall with “The Casket Girls.” He is presently working with Hancock on the opener for 2026-27.

After its annual fundraiser, “Fashion at the Florence,” Sept. 19 at The Tarkington, the first full dance production for Gregory Hancock Dance Theatre will be the premiere of “Salem” by Hancock and Gabel, inspired by the historic witch panic, on Oct. 23-24.

GHDT returns to The Florence for the multicultural “Winterfest” in December, and a revival of the murder mystery with movement, “The Black Dahlia” in February 2027. The following programs at the Tarkington are “Remembrance” in April and “A Night in India” in June.

In addition, four “Melange” series programs are planned, Sept. 12-13 and Nov. 14-15, 2026; and March 13-14 and May 15-16, 2027. As before, set in The Florence, they feature an improvised dance and visual art collaboration with a vocalist who reveals their program on stage. The experience is unique to each performance, with the artwork auctioned at the end.

For all the details, see gregoryhancockdancetheatre.org.

GHDT concludes its season in style

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By John Lyle Belden

Time again to look both back and forward at the magnificent works of Gregory Hancock Dance Theatre.

In mid-May, we had the last of the 2025-26 season’s “Mélange” series. Vocalist Angela Manlove presented a program of Broadway hits around the theme of “Finding Your Voice.” Aside from songs she has performed on stage, from “Aida,” “The Bodyguard,” and “Ragtime,” she indulged in a bit of “Chicago,” “Wicked,” and “The Little Mermaid” (taking a moment to praise Disney for showing her daughter an Ariel that looks like her), along with heartfelt numbers from “Waitress,” “Songs for a New World,” and “The Notebook.”

Throughout all this, GHDT company dancer Olivia Payton wrote out the songs’ emotions in movement – working the whole area energetically, then coming closer for intimate moments with Manlove. Meanwhile, impressionist painter Debbie Slack worked. During the performance we saw, the painting imagined the performance space of The Florence as a field of flowers, with a Peyton’s figure tracing a graceful line. Bidding was fierce for the finished work (sold to benefit GHDT programs).

We cannot recommend this unique performance series enough. Watch for upcoming Mélange dates at gregoryhancockdancetheatre.org.

In the meantime, very shortly there will be one of Gregory Glade Hancock’s excellent productions of visual storytelling, the story of “Antony and Cleopatra,” inspired by the Shakespeare play based on historical figures during the rise of the Roman Empire. For this show, the story – with choreography and costumes by Hancock, music by Corey Gabel – takes place in a modern Egyptian-themed club where rival performers stir up the drama.

GHDT last performed this program in June of 2022. I noted then that as the concept played with setting and gender, the result was a compelling, fascinating story of forbidden desire and love, rash actions and tragic consequences. Thomas Mason and Abigail Lessaris, as well as Payton, will likely reprise their roles as part of a full cast of company dancers and students.

This will conclude the company’s 2025-26 season. Performances are one weekend only, Friday and Saturday, June 5-6, at The Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get tickets at the GHDT website or thecenterpresents.org.

GHDT ‘Mélange’ continues to amaze

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By John Lyle Belden

In the performance world, we sometimes find something that is so cool, but with a limited audience, and declare it a “best-kept secret.” However, every producer and performer would much prefer that the “secret” get out!

Such is the case with Gregory Glade Hancock, whose Gregory Hancock Dance Theatre has developed a local cultural phenomenon with the “Mélange” series. As we’ve noted in past reviews, it is: One vocalist; one dancer; one visual artist; no rehearsal. Together they collaborate on the spot, with the vocals inspiring movement inspiring art. Thanks to the dedication and professionalism of all involved, the combination works for one-of-a-kind experiences. The artwork is even auctioned at the end of the performance (funds go to GHDT programs) for a unique souvenir.

The best of these so far (and they have all been great) was held on April 18-19. Vocalist Evelyn Rai leaned in on the concept by presenting what she called “a conversation between music, movement, art, and the human heart.” She then proceeded to deliver, with minimal preparation, a song and spoken word stream-of-consciousness performance based on her autobiographical book “From Grief to Grace.” It felt like a rhythm and blues sermon, delivering life wisdom such as “there is a beautiful side to grief” and “in every season there is a lesson.”

Meanwhile, as artist Christina Hollering worked diligently at her easel, dancer Cody Miley (a veteran of Dance Kaleidoscope who has performed with GHDT) interpreted Rai’s words in flowing movement. He seemed a little impish at first, even invading the artist’s space to playfully dab a bit of her charcoal on his face. However, it becomes evident that his method is to link together the elements, bringing human connection to artistic endeavor. Rai goes with this, even indulging Miley by taking his hand for a few joyous steps. For this Mélange, the trio was a foursome, as Ian Dunlap on keyboards provided perfect accompaniment, and even got to play a solo.

In a word, the experience of April’s show felt transcendent. Find out what superlatives you can attach to the next Mélange on May 16-17 in The Florence performance space at the Academy of Gregory Hancock Dance Theatre, 329 Gradle Dr., Carmel. This will feature vocalist Angela Manlove, dancer Olivia Payton, and visual artist Debbie Slack.

Manlove is a powerhouse performer whom we have seen twice in the iconic Sarah role in “Ragtime,” once in the Whitney Houston role in the musical of “The Bodyguard,” and in a major supporting role (The Moon) in “Caroline, or Change.” Which, if any, of this material she brings will be a surprise to all – but still spectacular.

Payton, a GHDT company regular who was the lead character in the recent “Exodus,” last performed a Mélange two years ago. Her balance of athleticism and grace, we described then, was a “sultry style (that) perfectly complemented every song… She seemed to feel her way through the various moods evoked by (the) vocals.”

Slack, who works in an expressionist style on varied subject matter, states on her website, “For me, painting is both a joyful and deeply spiritual process.” Her gallery includes still lifes, as well as capturing the motion of Indy race cars.

Get tickets ($25 each) at gregoryhancockdancetheatre.org. And help spread the word!

GHDT taking on epic stories

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By John Lyle Belden

Just in time for Passover, Gregory Hancock Dance Theatre revived an excellent work of visual storytelling, “Exodus,” at the Tarkington in the Allied Solutions Center for the Performing Arts in Carmel at the end of March.

Inspired by the Biblical story, the central character is not a particular person but The Chosen, represented stunningly by Olivia Payton. Her grace and strength are on glorious display here. She communicates her apprehension at her high position, being adopted by royalty, which gives way to anger in an incident that banishes her to the slave class. The others in bondage include Nathalie Boyle, Sophie Jones, Josie Moody, Vivien Michels, Audrey Springer, and Abigail Lessaris, who also earlier plays the Chosen’s mother, with Lucille Harris as the child.

The ruler over this land is simply known as The Persecutor, a performance of menacing strength by Thomas Mason. As Gregory Glade Hancock wrote this (including choreography and costumes) with emphasis on feminine strength being oppressed, he made the army of Oppressors more androgynous in masks and dark, loose clothing. The sigil on their chests resembles a computer Power button, hinting at their control.

Oppressors are danced by Mary Kate Burks, Maura Burks, Gwyneth Conner, Fay Dale, Renata Felice, Riah Gerwels, Katie Gretschmann, Lucy Grontkowski, Lauren Harrison, Natalie Huff, Grace King, Kelly Kubinski, Jilli Myers, Lucy Nevins, Reese Palmateer, Caitlyn Pingel, Serena Roe, Kingsley Southard, Josephine Steinmetz, and Claire Vreeke.

Children in this production are Harris, Eva Abakunova, Valerie Bussell, Addie Dibner, Valeria Griffis, Vivienne Maresh, and Anya Willis.

From the original narrative, we get one of Hancock’s most stunning pieces of movement, a representation of The Burning Bush with several dancers gathered at center stage, each with their own eccentric motion so that together we get the mesmerizing effect of flickering flames. This, as well as the eventual Parting of the Sea, are aided by skilled lighting and clever set design by Ryan Koharchik.

As with the old story, the land also suffers Plagues; however, Hancock wished these to be more relatable to modern audiences. The representation of pollution – “Desecration of the Earth” – is particularly startling. Other ills including Gun Violence, Racism, and indifference brought on by Social Media also reveal our destructive nature.

Regarding this production as a whole, one impressive aspect is how the music – from various sources – was assembled to provide the the perfect palette for the dancers to present every scene.

“Exodus” had just one weekend of performances, but is likely to return in a future season. GHDT’s next full production is “Antony and Cleopatra,” inspired by the Shakespeare play based on these historical figures, June 5-6 at The Tarkington. Original music will be by frequent collaborator Cory Gabel. (Get tickets at thecenterpresents.org.)

In the meantime, The Florence stage at The Academy of GHDT (329 Gradle Drive, Carmel) will host the Melange series. At each performance, a vocalist will perform, joined by a dancer and visual artist who each improvise in their own way. Thus, every session is unique, and the artwork that is created during the hour is immediately auctioned to a generous audience member, with funds going to GHDT.

  • On April 18-19, Evelyn Rai is vocalist; Cody Miley, who has performed with GHDT and Dance Kaleidoscope, is the dancer; and Christina Hollering will create visual art.
  • On May 16-17, Angela Nichols Manlove is the vocalist; with dancing by Olivia Payton; and visual art by Debbie Slack.

For more information and Melange tickets, visit gregoryhancockdancetheatre.org.

GHDT’s ‘crowning’ achievement

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By Wendy Carson

Gregory Glade Hancock constantly brings new and innovative dance experiences to the stage, and his latest, “The Pageant,” is certainly a triumph.

In The Florence performance space at The Academy of Gregory Hancock Dance Theatre, we look both onstage and backstage at “The Extravagantly Glorious, Unquestionably Magnificent, Universally Celebrated, and Incomparably Prestigious Grand Supreme Ultimate International Beauty, Poise, Charm, Talent, and Grace Showcase Spectacular of the Millenia: A Dazzling Quest for the Crown of Eternal Radiance and Timeless Elegance, where beauty meets purpose and confidence shines brighter than any Crown” contest.

Our host, Ernesto Francois O’Reilly (Thomas Mason) controls the flow of the events while Judges, Jaxie Blaze (Kira Coapstick), Katarina Nowak (Zoe Maish), and Tomasz Lewandwoski (David Elser) oversee the competition.

The Contestants all feature little personality quirks to help you keep track of who’s who. Arabella Avante (Vivien Mickels) is a bit overconfident in her physicality; Harper Lyn Beavers (Josie Moody) is a typical Southern Belle who is only here to win, not place; Brielle Brickson (Nathalie Boyle) is so soft-spoken you can barely hear a word she utters; Fran (Audrey Springer) is so succinct, she doesn’t even use a last name; Zariah Leclair (Olivia Payton) is a pageant pro who knows the ins and outs of winning; Juliana Papadopolou (Abigail Lessaris) seems self-confident but hides her insecurities well; and Savannah Sway (Sophie Jones), who seems to be madly in love with the host.

The program includes excellent dancing, of course. Each contestant expresses her feelings in movement, Mr. O’Reilly gets in a few numbers, and even a couple of judges cut a rug.

However, true to the theme, the women also present other talents including singing, lip-synch, a musical instrument, botany(?!), and a rare opportunity to hear these performers speak. Performances range from charming, comical, uplifting, graceful, to a little scary at one point.

Note that, according to Hancock, the “winner” is not pre-decided. Likewise, the questions in the Interview portion of the contest are different in every show, and the contestants won’t know what they are until they’re asked. “So, every performance is different,” he said.

Speaking as one who has worked backstage in the Miss America system for close to a decade, Hancock is spot-on with the insights and humor as well as the inner workings of these sorts of contests. I am always excited to see what he and his talented troupes have to offer and this show is definitely one not to be missed.

Performances are Saturdays and Sundays, Feb. 14-15 and 21-22, at GHDT, 329 Gradle Drive, Carmel. Get info and tickets at gregoryhancockdancetheatre.org.

Variety of celebrations in GHDT ‘Winterfest’

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By Wendy Carson

Gregory Hancock Dance Theatre gives us a shimmering delight with its presentation of “Winterfest,” paying tribute to pretty much every December holiday/celebration in existence.

This inclusiveness, combined with Gregory Glade Hancock’s style of choreography make this show a standout and must-see for anyone who enjoys dance of any kind. Plus, this year’s show highlights a new opportunity being offered by the GHDT Studio.

To “Welcome Winter,” we begin with three of the dancers showing off their ballet prowess in toe shoes, then move to a couple’s romantic encounters, and finally six dancers flitting about conjuring literally visions of sugarplums dancing in our heads. And that was just the first of the ten pieces being offered.

Primary male dancer Thomas Mason, who choreographs most of the sections of the program, highlights the younger student dancers in “St. Nicholas Day.” Their energy and grace brought a joyous warmth to the performance.

Hancock’s costuming sense hits a crescendo with the next two numbers: “Kwanzaa” has the dancers in black outfits with red and green stripes, highlighting the colors of the festival, while each has an individual emblem on the top representing one of the holiday’s seven principles. A simple white dress with an indigo ombre skirt represents the rebirth of light after the longest night of the year to celebrate the “Winter Solstice,” or Yule.

“Diwali” finds the younger dancers back and allows each one a short solo to highlight their individual abilities.

To expound on the opportunity I mentioned above, Guest dancers Zoe Maish and David Elser present a lively ballroom version of “Man with the Bag” to show off their skills and allow you to see what potentially waits for anyone signing up for Ballroom Dance lessons that they will soon be offering.

Mason’s choreography of “Saint Lucia Day” showed the somber spiritual grace and beauty that is also a solid part of the holiday celebrations.

Dancer and frequent GHDT program cover model Olivia Payton shows off her choreographic chops with “Las Posadas,” which celebrates Joseph and Mary’s journey to the stable in Bethlehem. These dances offer a flirty style and allows each primary dancer a chance to individually shine.

Hancock choses to highlight both the solemn history behind “Hanukkah” and the joy and humor of those of the Jewish faith.

The evening concludes with “Christmas,” choreographed by Mason, and allows for a few of the very youngest pupils to show off what they’ve learned as well as bring smiles to one and all. The whole troupe gets to shine throughout.

Dancers include Mason, Payton, Abigail Lessaris, Sophie Jones, Vivien Mickels, Josie Moody, Audrey Springer, and Nathalie Boyle, as well as students Eva Abanunova, Arden Brothers, Valerie Bussell, Magnolia Donaghey, Fiadh Flynn, Luna Garelli, Lera Griffis, Vivien Maresh, Hazel Moore, Morgann Rice, Isabella Webb, and Anya Willis.

After the show, there is a complimentary hot chocolate bar to help you keep the joyful moments going.

The entire night was spectacular and really gets you energized for – as well as remembering the meanings of –the Winter Holidays.

The best part is that this was not just a one-weekend production! See it for yourself Friday, Saturday, or Sunday, Dec. 12-14, at The Florence at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get tickets at gregoryhancockdancetheatre.org.

GHDT ‘Casket Girls’ dance again

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By John Lyle Belden

Though shrouded in myth, the story of the “Casket Girls” is true*. In the 1720s, by order of King Louis IV of France at the urging of the Church, young women were sent to new Gulf Coast colonies to be wives to the men there in hopes of keeping them civilized and Christian.

These filles a la cassette (girls with suitcases) were eventually referred to with the word casquette, which conjured the more popular term. They were pale and delicate, it was said, sensitive to the sun and, perhaps, the magical spirit of New Orleans.

Gregory Hancock Dance Theatre has revived its production that tells the legend with “modern gothic vampire” flair, featuring original music by Cory Gabel. Choreography and costumes are again by Gregory Glade Hancock, with lighting by Ryan Koharchik.

This modern-dance ballet centers on the character of Catherine (Abigail Lessaris), a Casket Girl who lives with the Sisters of St. Ursula until she finds her beau, Jean (guest dancer Cody Miley). But supernatural forces strike, changing her forever.

The second act brings the undead Catherine back to New Orleans a century later, finding an ally in voodoo priestess Mother Ava May (Olivia Payton) and love with sweet Saraphine (Josie Moody). But evil Lucien (Thomas Mason) wants to rule the city, and if Catherine doesn’t join him, he knows the Casket Girl now has something to lose.

Dancers also include Nathalie Boyle, David Elser, Fiadh Flynn, Sophie Jones, Zoe Maish, Vivien Mickels, Hazel Moore, Audrey Springer, Josie Steinmetz, and Lucy Grontkowski of The Conservatory of Dance at Granger, Ind., with guest vocalist Tessa Gibbons.

Stunning and beautiful throughout, the music and movement embrace a dark atmosphere evoking the works of Anne Rice and the goth-punk aesthetic of the World of Darkness roleplaying games. Gabel, in close collaboration with Hancock, brings a Nine-Inch-Nails-esque percussion to the score, giving a relentless beat to the characters’ stilled and breaking hearts.

A unique danse macabre for this spooky season, “The Casket Girls” have just one performance remaining, 5 p.m. today (Oct. 25) as I post this, at The Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Watch for this production to likely return in coming years.

With this, GHDT opens its 28th season. Next up is its next improvised collaboration in the “Melange” series on Nov. 15-16 as Mickels dances while vocalist Jessica Hawkins sings and Madhuchhanda Mandal creates a visual work of art. The full company celebrates the Holidays with Winterfest on Dec. 4-7 and 11-14. These performances will be at The Florence performance space at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Dr., Carmel.

Full information and tickets at gregoryhancockdancetheatre.org.

—

(*History and legend of the Casket Girls at NewOrleans.com)

Time to dance again: Footlite presents ‘The Prom’

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By John Lyle Belden

It’s not spring; still, any time is good for recognizing we need to let those around us be their authentic selves. In this spirit comes the latest production of “The Prom” at Footlite Musicals.

This Broadway hit – book by Chad Beguelin and Bob Martin, music by Matthew Sklar, lyrics by Beguelin, concept by Jack Viertel, inspired by actual 2010 events in Mississippi – is, as I’ve mentioned before, sort of a “Footloose” for our era, with hints of “Cinderella.”

Broadway stars, or at least they used to be, Dee Dee Allen (Karen Frye) and Barry Glickman (Sam Godsey) have their latest show flop so bad, it closes after opening night. Commiserating with their assistant, Sheldon (Isaac Becker-Chamberlin); Angie Dickenson (Abigail Okerson), who has been stuck in the chorus of “Chicago” for years; and unemployed former sitcom star Trent Oliver (Dustin Branum), who constantly mentions attending Julliard; they look for something to improve their public profile.  

In the (fictional) town of Edgewater, Indiana, the High School PTA cancels its Prom after learning student Emma Nolan (Marachey Fowler) plans to bring another girl as her date. While finding herself more bullied than usual, Emma has an ally in the principal, Mr. Hawkins (Shawn Hunt). Together they petition the PTA, led by staunch conservative Mrs. Greene (Katie-Rose Connors), to reconsider. But as they make their case, guess who comes barging in to “save” the day?

The cast also includes Claire Donnelly as Alyssa, Mrs. Greene’s daughter and Emma’s secret girlfriend; Zaylee Jaliwala and Nayima Hall as cheerleaders Kaylee and Shelby; Zaire Gladden-Williams and Conner Becker-Chamberlin as students Nick and Kevin; as well as Kevin Bell, Nate Copleland, Jerry Davis, Nathan DeMyers, Sophie Eastman, Kathleen Fox, Cari Gallagher, Emma Gedig, Josh Hoover, Kerrigan McSweeney, Michael Morrow, Gwendolyn Pickett Kenan, Tinnin, Katie Van Den Heuvel, Jennifer Zotz, and Thomas Zotz.

As events unfold for a teen who just wanted to dance, all characters confront uncomfortable truths, from the New Yorkers’ narcissism to schoolmates’ unquestioned beliefs. The musical was written as taking place in Indiana as a jab at then-Vice President Pence, but having Hoosiers play Hoosiers lends an authentic feel and softens the genuinely funny digs against our state (though the play does make Applebee’s look good).

Frye gloriously goes full diva, reminiscent of Patti LuPone at her most catty, as Dee Dee. Godsey’s Barry is like the sweet hyper child of James Corden and Harvey Fierstein. Donnelly’s dancer, “antelope legs” and all, follows her chorus instincts to help a fellow girl in trouble. Branum makes the most of a unique character with an interesting arc, whose unconventional thinking ends up helping.  Hunt plays Mr. Hawkins steadfast as the fulcrum on which the whole plot turns (I know I said this in a prior review, it still works). Isaac Becker-Chamberlin is charming as the one responsible for wrangling the various celebrity egos.

Connors is daunting as a woman whose mothering instincts have overtaken her compassion. Jerry Beasley, who directed with Claire Slaven, helped guide her actions at the show’s end, which suggest the possibility of healing.

As for the star of the show, Marachey Fowler is amazing! From her first song, she exhibits natural power, control, and stage presence. You can’t help but feel not just for her, but with her, in every scene. We are amazed this is only her second musical, and look forward to seeing whatever she does next.

Donnelly is also excellent, and nails Alyssa’s signature song. Her fellow students also sing well, and wow us with their dancing, choreographed by Thomas Mason.

The orchestra is led by Jeremy Kaylor.

Make a date for “The Prom,” with two more weekends, through Oct 5, at 1847 N. Alabama St., Indianapolis. Get info and tickets at footlite.org.

IndyFringe: Fae – An Original Story of Unusual Belly Dance

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

The Painted Knees arrived at Fringe this year with a spectacular dance extravaganza for all ages. Directed by Liz Wray and Lisa Warner, the show presented belly dancing in a narrative art form closer to how it originally began.

The show opens with a dance that highlights all the performers before the story begins. This gives you a nice look at the cast as well as setting us up for the tale we shall witness.

The story unfolds in much the same way as a ballet would, with no speaking and only dancing to drive the narrative. However, the troupe not only gives you background story in the program, it also cleverly breaks the show down into its various scenes with titles to keep you from getting lost.

The show overall was a sheer delight to behold. The dancing was spectacular, and the costumes/makeup effects were amazing.

I must say, as a past student of belly dancing, it is lovely to see the variety of body shapes present in the cast. Belly Dancing was created for a more ample body size and that was reflected well here.

This show was one of the most unique offerings at this year’s Fringe. I hope that The Painted Knees will continue to bring their skills and artistry to the Fringe stage for many years to come. I certainly look forward to seeing them again.

IndyFringe: Beyond Ballet

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

You have one chance left to see “Beyond Ballet,” presented by Indianapolis Ballet, at 2 p.m. Saturday, Aug. 23, at The District Theatre. Given the rarity of seeing this professional company for such an affordable price, this is likely sold out. Still, check and see if you’re lucky.

What you will see (or miss) is an extraordinary display of beautiful, disciplined artistry in motion, showcasing the physical strength, stamina and control of the dancers. The style mostly exemplifies traditional ballet, even the woman in the pas de deux with a slow-tango feel works in toe-shoes. In a more modern mode is a piece choreographed by local legend David Hochoy, a trio (pas de trois, I believe is the term) to lyrical guitar and aria.

Further, it seems they brought the entire company to this exhibition. You rarely see the same person in two dances, giving us a sampling of Indianapolis Ballet’s varied and diverse talents. In the final curtain call, they overwhelm the District mainstage.

Information on their upcoming season is at IndianapolisBallet.org.