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Choreographers George Balanchine and Wayne McGregor — whom the Boston Ballet brought together in its program “Chroma” Thursday night — make strange bedfellows. And it’s not because Balanchine is a classicist and McGregor is an Experimentalist, with a capital “E.”
It’s because Balanchine’s dances no matter how old have the nuances and musicality to withstand time
and look new. McGregor’s, if his offering “Chroma,” made in 2006 for London’s Royal Ballet, is any indication, operate on a single high-pitched plane that dates them.
There are many in the Boston Ballet audience who would disagree with that. Indeed, I heard employees for the troupe saying during intermission that the standing ovation for “Chroma” was the longest they had ever seen. But still, the newcomer cannot hold a candle to the master.
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“Chroma” “Serenade” and “Symphony in C”
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