Dancers use their bodies to express emotions, unlike opera singers, who use their voices, and Punchin' Jack, who only uses his fists. Get an eyeful of art with this Groupon.
The Deal
- One G-Pass to see the Oregon Ballet Theatre's Dream
- When: Thursday, October 17, at 7:30 p.m.
- Where: Keller Auditorium
- Door time: 6:30 p.m.
- Ticket values include all fees.
Seating Options
- $29 for area 4 seating (up to a $61.60 value)
- $59 for area 2 seating (up to a $104.75 value)
- Click here to view the seating chart.
How G-Pass Works: Your G-Pass will be ready to print 48 hours after the deal ends. Print the G-Pass and use it to enter the venue directly; you won't need to redeem at will call. Due to security restrictions, G-Passes cannot be redeemed through the Groupon mobile app.
Oregon Ballet Theatre's "A Midsummer Night’s Dream"
Opening a new era under recently appointed artistic director Kevin Irving, the Oregon Ballet Theatre's season kicks off with two dreamy pieces. World renowned choreographer Nacho Duato's Por Vos Muero opens the program with a company premiere, melding contemporary dance moves with intricate baroque melodies. Next, A Midsummer Night's Dream interprets Shakespeare's tale of quarreling lovers and mischievous fairies, sending audiences on a romp rife with comic misunderstandings. Puck, the servant to the king of the fairies, sets off a chain reaction when his love potion causes the fairy queen to fall in love with a weaver-turned-donkey-who's-a-surprisingly-good-dancer. Human lovers fall into the mix, and a night of confusion set in a magical forest unfolds.
Using the original choreography of former artistic director Christopher Stowell, the show flows along to Felix Mendelssohn's seminal overture and incidental music. The score ranges from the grand organ swells and trumpet fanfares of the Wedding March to a rustic peasant dance built around a string refrain that imitates the sound of a braying donkey.
Oregon Ballet Theatre
Since debuting in 1989, the Oregon Ballet Theatre has built its reputation on two seemingly opposed elements: strict balletic classicism and newly commissioned works. Now the theatre enters a new era under artistic director Kevin Irving, whose background spans both classical and contemporary performances. As a dancer, Irving appeared with scores of companies, including the Alvin Ailey Training Ensemble and Elisa Monte Dance Company. In 1994, he retired from the stage to take a position as ballet master and head of the artistic department with Nacho Duato’s Compañia Nacional de Danza in Spain. Irving looks to take the Oregon Ballet Theatre to new heights, riffing off rave reviews from the Oregonian's Bob Hicks, who wrote that the theatre's Swan Lake is “a work of sumptuous geometric balances that echo the story's mirror-image theme.”
