GRAVESEND — The show must go on — always.

With rain keeping them out of the thoroughfare, the dancers of Covenant Ballet Theatre of Brooklyn (CBT) moved their performance inside for their renowned annual production of “Bach to the Streets.”

Executed by CBT students alongside professional dancers on the evening of May 15, the 30-minute show was originally slated for an outdoor performance at Lady Moody Triangle Park in Gravesend, but due to inclement weather, it was repositioned to CBT’s studio located at 251 Avenue U.

“Bach” comprises three performances, beginning with the CBT-2 Junior Company Dancers: Hannah Bolski, Tehilah Brann, Irving Brann, Isabel Campanelli, Quetzali Espino, Alessandra Gamez, Laura Holmes and Calista Wu performing to Bach’s “Cello Suite No. 3 in C Major, BWV 1009: V. Bourrees I and II.” 

A new work by Kristin Licata, CBT’s Artistic Advisor, was also included in the first act.

After act one, accordionist virtuoso Hanzhi Wang turned spectators on to Johann Sebastian Bach’s “Goldberg Variations No. 1.”  

Wang also accompanied the headlining act as well, consisting of dancers Rebeccah Brann, Tehilah Brann, Jenna Lemmon, Kate Reyes, Colleen Rivera and Tanya Trombly. 

Together, they interpreted Bach’s “Orchestral Suite No. 3 in D Major, BVW 1068: II. Air; and III. Gavotte I-II.”

Marla Hirokawa, artistic director and founder of the Covenant Ballet Theatre, described the evening’s dance style as “abstract, with no improvisation or specific storyline, per se: music visualization which is open to interpretation.”

Hirokawa created “Bach to the Streets” back in 2022.

“One of my ideas some years ago was to be able to dance in the street, showcasing classical music and classical dance,” Hirokawa recalled. “The goal was to bring ballet and classical music outdoors.” 

Hirokawa pointed out that it was a bit challenging to switch gears so quickly and reinterpret the performance for an indoor venue. 

“Our studio room is pretty narrow, although it can accommodate about 50 people, and of course, you miss the openness of being outside and the exposure to the wind and air,” she said. “It’s a more intimate performance, for sure. But, in a way, it’s better for the dancers in that they know what kind of floor they are dancing on; it’s not rocky, and it’s not gravel.” 

Another challenge, Hirokawa said, is playing with a live musician.

“They could speed up; they could slow down. And dancers work off of ear memory as well as physical memory, so it’s different than working with pre-recorded music.” Incidentally, only the first act used pre-recorded music. Further, to this reporter/musician’s ear, the tempo was right on point.

Hirokawa founded CBT on the conviction that a serious ballet education is needed to advance the art form, train youth and improve the lives of those within its embrace. 

In an accepting yet rigorous environment, CBT fosters the love of dance through pre-professional training, educational programs in New York City schools and original ballet productions.

Since its inception in 1987, CBT has trained hundreds of students, aged three through adult, from the borough as well as in Manhattan, The Bronx, Queens, Staten Island and the tri-state area.