Devil’s Crush, the latest invention from Wonderbound’s Artistic Director Garrett Ammon, kicks off the company’s 2024-25 season with a not-unexpected bang. Like all of Ammon’s creations this evening-length ballet is chock full of expansive ballet-infused movement, high theatricality, stunning production design and compelling music. Executed by the finest ensemble of dancers in Colorado, it is a total feast for the eyes and ears.

What’s interesting about Devil’s Crush is that it sometimes looks and feels like a classical story ballet, albeit with Ammon’s distinctive contemporary choreographic style rather than the highly stylized turned-out feet, porte de bras and tightly controlled upright postures of classical ballet. But the structure and many elements of classical ballet are there – an evening-long story line, distinctive characters and an ever-changing array of solos, duets and large ensemble sections. In Ammon’s hands there are also upside-down flips, flexed arms and legs, physical movements that go by so fast it’s sometimes hard to see exactly what the dancers are doing and, of course, no pointe shoes.

Rachael Dean and Aidan O’Leary in ‘Devil’s Crush’ | Photo: Amanda Tipton Photography

Dynamic duo

Ammon is an amazingly prolific dancemaker, having made more than 80 works over two decades. He is also a total artist, writing the narration for his ballets, creating the scenic design and video projections, selecting the music (in some cases, but not here, collaborating with musicians) and overseeing virtually all production elements. In Dawn Fay he also has a personal and professional partner who assists in the development of his works and brings a highly original aesthetic to the always striking costumes of Wonderbound shows.

Wonderbound’s written programs typically include a synopsis of the production’s story, and the one for Devil’s Crush is especially helpful. The basic tale is of an old woman who makes a deal with the Devil, receiving eternal youth but with ultimately unhappy consequences. Ammon writes that the narrative in the program is just one explanation for the action, and there were times when I couldn’t figure out precisely what was happening or how a particular scene related to the ongoing story. These sections offer nice dancing and dazzling theatrics but interrupted the dramatic thrust of the action. But this was only a minor distraction from the overall appeal of the ballet.

One of the most compelling elements that keeps Devil’s Crush moving along is the engaging and diverse score of recorded songs that Ammon has curated. All are listed in the program and range from Franz Liszt’s Liebestraum No. 3 in A-Flat Major to Bob Dylan’s Ballad of a Thin Man to Muddy Waters’ You Gonna Need My Help to, of course, Leonard Cohen’s Hallelujah, and much more. Although all the music was appealing it didn’t always relate to the physical or emotional happenings in a particular section or reinforce the impact of the dancing. Overall, however, Ammon’s choice of music reinforced his commitment to total theatre and his high artistic standards.

Photo: Amanda Tipton Photography

A uniformly talented troupe

As with every Wonderbound production, the only way to single out individual dancers, given how uniformly talented the troupe is, is when they undertake lead roles. Here Rachel Dean as the transformed woman demonstrates her elegance, sky high extensions and intense musicality while Cameron Cofrancesco as Lucifer is her match in physical prowess and emotional power.

Ammon is particularly talented at creating dynamic group dances and manages to not only retain technically polished and dramatic dancers who stay with the company for years but also to continue to attract new, young performers who meld seamlessly with the troupe. This, perhaps more than anything else, is a testament to Ammon’s skill as a creator and artistic leader.

For good reason Wonderbound has an incredibly dedicated audience. Going to Devil’s Crush or any Wonderbound show pulls an attendee into a tight-knit community of arts lovers who know and appreciate first-rate performance when they see it.