Every day, thousands of cars, buses, and bicycles make their way through the hectic roundabout known as Dupont Circle, slogging through ever-present construction projects and lackadaisical tourists alike. Yet, in the heart of the historic neighborhood lies a hidden gem, and it sits just a few feet underneath the concrete of the famous traffic circle. Once abandoned by the city and left to collect dust, the old underground streetcar tunnels are now home to a one-of-a-kind performance venue known—quite appropriately—as Dupont Underground. And for the first weekend of October, The Washington Ballet brought its talents to the space with the latest show in its Dance for All series.
Seeking to address the lack of public spaces for creative expression in D.C., the Arts Coalition for the Dupont Underground was formed in 2016 as a nonprofit arts organization dedicated to expanding the city’s creative culture and making room for burgeoning D.C. artists. The organization leases part of the now defunct underground streetcar tunnels, transforming them into a multipurpose venue that hosts everything from art exhibitions to group performances. Backdropped by the clashing urban aesthetics of industrial infrastructure and vibrant wall graffiti, artists of all kinds can dazzle audiences in an unorthodox environment, breaking the status quo of where art can take place.
The Dupont Underground’s background made the venue ideal for The Washington Ballet to host the most recent show in its Dance for All initiative—a collection of low-cost classes and performances designed to kickstart the public’s interest in dance and inspire new dancers to join the field. For these events, the company seeks out nontraditional yet accessible venues to reach the widest audience possible. At less than a five-minute walk from the Dupont Circle Metro Station, Washingtonians can easily make their way to Dupont Underground from anywhere across the city. And given the Underground’s unique history, the pairing between venue and company was a match made in paradise.
From dance to music to fashion, The Washington Ballet has wholly embraced the Dupont Underground’s multidisciplinary approach to art—as seen in the care given to all the creatives involved. This show marked Edwaard Liang’s debut as artistic director for The Washington Ballet, while Emmy-award-winning composer Blake Neely and his team provided the enchanting score for the performance. The dancers also performed in outfits specially designed for the show by the company’s fashion partner, Max Mara.
Unsurprisingly, every dancer displayed superb technique—each jump was accentuated with the characteristic pointed foot, each turn was clean with no sign of wobble, and each lift looked effortless for both parties involved. Of course, a dancer is only as good as the choreography they receive. Thankfully, all were in safe hands with Liang, who managed to showcase each dancer’s skills while creating illustrative, impactful scenes and images for the audience. Synchronized sections, accompanied by partners breaking off to perform individualized segments, infused the show with each dancer’s distinct flavor. The opening number likewise reflected this individuality, with dancers splitting off into pairs across the stage in a ripple fashion, a vibrant and eclectic mix of skillfully executed choreography.
In addition to their excellent technique, the dancers’ expressions were equally impressive. Without spoken words, ballet is often at a disadvantage when attempting to communicate with the audience. Yet, at Dance for All, the dancers’ emotions were clear as day. Longing and tenderness painted their faces, a feeling which enraptured the audience.
Accompanying the dancers was a group of talented musicians and vocalists whose artistry amplified the already gripping performance. Blake Neely’s contemplative and dynamic score was performed so precisely, it almost sounded pre-recorded—a testament to how well-rehearsed the musicians were. Syncing live music with live dance is no easy feat, yet it was done masterfully. The resonant notes from cellist Jacob Braun formed a hearty melodic basis while Sherri Chung’s evocative vocalization created a hauntingly beautiful effect. Violinists Camille Miller and Stephanie Yu expertly performed the melody, complementing the dramatic character of the dancing.
The musicians were also given an equal chance to shine, as no dancing occurred during the interludes interspersed throughout the show. Instead, they performed enchantingly alongside mesmerizing animations created by Tom Neely which were projected onto a screen onstage. Rather than merely setting the background for the dance performance, the score showcased the creative prowess of the musicians in full.
As an art form, ballet is often associated with wealth, societal elites, and eurocentricity. And yet the production of Dance for All did well in challenging these very notions. The show was located in a historic location where public transportation options were readily available with the Underground itself. Accessibility for disabled attendees was made a priority in the historic Underground. Ticket prices ranged from $25 to $50 which, compared to other performances, is certainly more affordable for most audiences. Even for those wishing to break into the ballet scene as consumers, the one-hour runtime proved to be perfect for all involved.
There was, however, some room for improvement in terms of racial and ethnic diversity in both the cast and production team. In a region teeming with a rather diverse population, seeing a company that represented the Black, Hispanic, and South Asian populations in D.C. would have been appreciated, especially in a show that prided itself on giving everyone a chance to dance.
The Washington Ballet still has work to do to embrace the vibrant diversity of the city it represents. But considering the intent, accessibility, and deliberate choice in a venue that acknowledges the city’s eclectic artistic history of their most recent performance, the company has taken an important step toward staying true to the title of “Dance for All.”
