poetofmotion.com
Peter Davison's choreography mixes contemporary ballet movement with physical theater, often incorporating an innovative use of objects inspired by his experience in vaudevillian and circus arts.
His works have been performed by Airjazz, Boulder Ballet, Ballet Nouveau Colorado, Canyon Concert Ballet, David Taylor Dance Theater, and by finalists of the Youth America Grand Prix Ballet Competition in New York.
Peter is a recipient of the 2009 Ballet Builders Award for Choreography, from New Choreographers on Point in New York. Excerpts from his "Cirque D'Amour" had their New York City premiere in March, 2009 at the Dicapo Opera Theater in Manhattan.
View choreographic excerpts on YouTube:
Ragtime (2009)
Cirque D'Amour (2008)
Bella Luna (2004)
Diana Krall Songs (2005)
An American in Paris (2007)
Cinderella Stepsisters (2008)
Choreography Reviews:
“My favourite on the programme was a pair of excerpts from Peter Davison’s Cirque D’Amour...these two snippets were a pleasure. Davison himself dances in the first section with the excellent Jennifer Aiken and a chrome ladder, which is inventively manipulated – he steadies it, she climbs it, they both tilt and counterbalance it in uncanny ways, and they trade off managing the thing in the midst of some extraordinary partnering.”
Tim Martin—Dance Europe Magazine
“Davison brings an imaginative, entertaining approach to this piece, justifying his receipt of the Ballet Builders Award from the New Choreographers on Pointe in New York City.
Although the piece hangs together well, each of the seven sections has a surprisingly distinctive identity, with Davison making ample but not excessive use of props, such as bicycle tires in “Rolling Along.”
In this creative section, which easily could be performed alone, the nine dancers roll, catch, dodge and manipulate the tires with amazing precision, never letting them fall flat on the floor.”
Kyle MacMillan—The Denver Post
“My imagination was running wild throughout. When a performance is based on movement, music, facial expressions and the use of objects (pillows, a bike, umbrellas, red ribbons and more), your creative receptors kick in.
The use of objects was simple yet rich with wonder. At one point, a man was pulling a red ribbon from a woman’s chest—and their facial expressions and movements were so real—that I could feel the pain she was expressing. The music was powerful, the movement fit perfectly. (My muscles were tense throughout the whole show, by the way. I was expecting to be fighting off my infamous dosing-off-head-bob like I do every time I fly. Nope. Total opposite.)”
Brit Horvat—Your Hub
"A bit of fancy closed the evening. Peter Davison, utilizing his past as a circus and street performer, had his dancers fully and playfully explore various props, most inventively a two legged ladder on which a man and a woman climbed, suspended themselves, and toyed with weight, balance, and space... Like the best of the pieces presented, it fulfilled what it set out to do and then some."
R. Pikser—Theater Scene, New York
“Boulder Ballet’s Comédia, created by Peter Davison, had all the elements of life and love when the Fine Arts Guild brought their production to Estes Park...A beautiful display of grace and athleticism filled the stage as dancers glided through a giant orb, and later communicated a work using only a ladder. Emotions such as joy, loss, failure and triumph played through each production. Comédia had the audience transfixed to the very end when the dancers ascended to take their bows.”
Janice Mason—Estes Park Trail Gazette
“With innovative props such as a life size wooden door and rubber bike tires, Ragtime flowed from upbeat (Rolling Along) to border-line tear jerkers (Together). Davison’s ability to connect with the audience on such a roller coaster ride was effortless. The true-to-life portrayal each dancer brought to their character established an empathetic bond between those on stage and those in their seats. After all, watching the human experience never gets old.”
Erica Prather—Denver Examiner
“Both ballets establish movement sequences that vary from kinetic, ensemble tableaus to carefully crafted solos. And objects become oh so important. The objects are integrated totally into the dance, and objects like ribbons, which are far apart in space, seem mysteriously and delightfully connected. As in the past Davison creates believable characters in movement sequences that are often subtle and minimal – a slight head movement, or slight positioning of limbs and fingers, and at other times huge and commanding...Davison’s sense of time, and timing eliminates any possibilities of dead spots, and although a relatively long program, Comédia holds its audience throughout.”
Donald K. Atwood—World Dance Reviews
Top of page
Copyright © 2008 Peter Davison - Photos by Sue Daniels. Dancers of Boulder Ballet.