It’s no surprise that American Contemporary Ballet is our favorite dance company we’ve experienced, as we’ve sung their praises in the past with The Nutcracker Suite, Burlesque and Inferno, Homecoming, and Astaire Dances. We describe them as not your mother’s ballet, and while I have brought my own Mom to ACB’s ballet before, this is easily the most unique, accessible, and experimental ballet company in the country today. Their latest experience, Jazz, combines hilarious comedy, a full live band, and exceptional ballet to create an immersive jazz ballet unlike anything anyone’s experienced before. American Contemporary Ballet Jazz is the new immersive ballet for Spring 2024.

American Contemporary Ballet Jazz is a 2-hour experience that redefines the traditional ballet experience by subverting expectations and surprising audiences. In the dimly lit basement of the Bank of America building in Downtown Los Angeles, Jazz invites audiences to step into a night club atmosphere for an intimate, small audience experience. The show seamlessly shifts between comedy segments, cocktails, and ballet, all accompanied by a ten-piece full jazz band. While audiences are seated for the performance, they are invited onto the dancefloor following the experience, and have the ability to explore before and after Jazz.

Photo By: Anastasia Petukhova

Location

American Contemporary Ballet changes its location every few years—and while they have occupied 2 California Plaza in downtown Los Angeles for the past series of experiences, they have moved to the basement of the Bank of America Plaza for American Contemporary Ballet Jazz. While this location does not have the sweeping views of a 28^th-floor skyrise, I love this location, and it fits perfectly for the vibe of an underground Jazz club. It feels clandestine, seedy, and moody. Dimly lit vermillion lights float through the air as if carried by cigar smoke, creating a space that seductive dreams can come true (lighting by Payton Jane!). I also love the opaque barrier, in which water from a courtyard beyond reflects against, creating a beautiful backdrop to this secret location. Finally, other locations have felt hot in the past, but the Bank of America Plaza basement is cool, comfortable, and cozy.

Comedy

The experience begins with a comedy performance by the fantastic Matt Donaher, which is reminiscent of 2023’s Astaire Dances. With large glasses and a shy demeanor, Donaher is posed as a token dweeb—but his comedy quickly subverts that expectation and pushes boundaries that keeps his audience laughing. He discusses divorce, drugs, porn, and abortion, never shying away from a topic. But his humor lands wonderfully, providing plenty of sympathy for coke addicts who have dandruff. I would have loved to have seen Donaher’s dance routine; such a shame he stubbed his toe before the set.

Photo By: Anastasia Petukhova

Dance

American Contemporary Ballet Jazz is comprised of nine acts, seven of which of which involve the ballet dancers: both male and female. While the experience does contain some of the same choreography from Astaire Dances, there are numerous new dances, including Billy Goat Stomp, which may be my new favorite from ACB.

Act two reintroduces The Charlestons, which allows five dancers to shine against a backdrop of jazz masterpieces. Elise Kruger emerges, whiskey sour in hand, quickly delivering to the audience before taking to the stage. Brittany Yevoli flows like dark water, moving with the deep richness of Duke Ellington and Dubber Miley’s “East St. Louis Toodle-Oo.” Hannah Barr brings a youthful energy to the stage, dancing across the stage as she applies lip gloss and poses against the piano. “West End Blues” by Joe King Oliver played by Louis Armstrong is perfect for Barr, and the added jazzy vocals elevate this performance. As the lights turn to a seductive red, the newest Charleston, Annette Cherkasov commands the stage, bringing modern energy to “New Orleans Bump” by Jelly Roll Morton. The final Charleston, Madeline Houk brings a swing styling to “Gamblin’ Jack” by Jelly Roll Morton, elevating the energy, and leaving the audience dancing in their seat.

Act three is “Four by Ellington”—and while the songs remain Jazz appropriate, the ballet dancing pulls its styling from the Astaire Dances experience—and I’m more than happy about that. While Mate Szentes captured the Astaire persona so expertly last time, mimicking mannerisms, movement, and charm, this time David Prottas joins in every other dance to bring a more youthful, playful, flirtatious version of Astaire to stage.

The first vignette of Act three features Sarah Bukowski and David Prottas and “I let a Song Go Out of My Heart” by Duke Ellington. Prottas teases and flirts with Bukowski, courting her in a scene straight out of an Astaire film. Barr and Szentes bring a maturity to the second vignette, as the Bryan Lipps’ trumpet in “Blue Reverie” defines a mood for their love. Prottas returns with Kruger for “Echoes of Harlem” showcasing their strength as performers, taking full ownership of the stage. Finally, Houk dazzles to “Pyramid” as Szentes sits and watches—her hips moving to a primal drum beat that evokes a Middle Eastern feel.

While the other acts feature a single dance, two are incredible highlights for this show, showcasing why I love ACB and Lincoln Jones’ masterful choreography. While the Stag dance in Homecoming still remains as my favorite surprise in ACB history, “Billy Goat Stomp” is my new second favorite. Barr (ever the ACB animal) transforms into a Billy Goat that finds her freedom. Yet, Claire Bednarek, Taylor Berwick, Victoria Manning, and Quincey Smith emerge as a manifestation of a fenced pen ready to contain Barr. This dance then transforms into such a joyous experience as she playfully leaps over the joined hands of Bednarek and Berwick, Manning and Smith. All of this is perfectly accompanied by sounds of a goat beating performed by the band. It’s perfectly fun, beautiful, and captivating.

The second new act that I loved was “Basin St. Blues” featuring The Lovely Twins: Kristin Steckmann and Elise Kruger with David Prottas. This was a hilarious act showing that three’s company. Steckmann and Kruger both vie for the attention for Prottas. They line up for leaps and twirls, and cuddle close for promenades. No matter how close one of them got—the other was always right over her shoulder.

Photo By: Anastasia Petukhova

Jazz and Cocktails

Morgan “Daddy Butterbeans” Jones and his Hot Nine are mesmerizing. While we were impressed with the full band for Astaire Dances, the band feels even more cohesive, appropriate, and captivating for American Contemporary Ballet Jazz.

Providing an interlude between acts, various performances grace the stage. Following Act 2, Chloe Feoranzo on Clarinet, Bryan Lipps on Trumpet, and Ben Flocks on Tenor Sax play a gorgeous rendition of “Dancing Cheek to Cheek” while kitty highballs (wine, ginger, lime, and soda water) are served to those opting in for drinks delivered by ballerinas. The drinks were delicious, and a nice refresher to the heat of the performance.

In Act 5, Angelina Brower performs “He Likes it Slow” by William Benton Overstreet. Her voice is powerful and evocative. I would have loved to see Brower perform to more songs, especially with dancers accompanying her vocal prowess, creating a cohesive performance.

I am a huge fan of jazz, and I wish I could have stayed all night listening to Daddy Butterbeans with another kitty highball in hand. Huge thanks to Bryan Lipps on trumpet, Khristian Foreman on Trombone, Chloe Feoranzo on clarinet, Ben Flocks on tenor sax, Ben Thomas on guitar and banjo, Scott Worthington on bass, Kyle Richter on tuba, Marcelo Bucater on drums, and Morgan Jones on piano and celesta.

Photo By: Anastasia Petukhova

Program

I absolutely adore the programs that American Contemporary Ballet creates. In the past, Astaire Dances has created a newspaper detailing the rumors and gossip of behind the ballet, Homecoming has given out school binders containing notes passed between the cheerleaders in the ACB school, and The Nutcracker has a menu of coffee and sweets that are delivered throughout the experience. But the tangible has been replaced by the memorable in American Contemporary Ballet Jazz, as the program moves from the hands of its audiences onto the walls of the theater. Designed by Farewell NYC, a series of 15 posters, each one denoting the act, the dance, the dancer—or highlighting Morgan “Daddy Butterbeans” Jones and his Hot Nine ensemble. The posters are period appropriate, beautifully designed, and would fit so perfectly as art in my home. Special hint: check the bathrooms as there’s a fun additional poster detailing how ACB was shut down again for pushing the boundaries of social responsibility.

Final Thoughts On American Contemporary Ballet Jazz

American Contemporary Ballet Jazz is a unique opportunity to step into a dimly lit basement jazz club, enjoy a cocktail, watch some hilarious comedy, and experience one of the best ballet performances you’ll ever have the opportunity to enjoy. For those who missed Astaire Dances, this is an exceptional opportunity to see those dances with a full ten-piece band supporting the chemistry on stage. And further, I applaud Jones for pushing the envelope once again with “Basin St. Blues” and The Lovely Twins and “Billy Goat Stomp”. Personally, I’m excited to see what animal Barr will personify in the next ACB experience. Jokes aside, this is an incredible experience and would be appreciated by jazz fans, immersive fans, ballet fans, Astaire fans, and many, many more.

Photo By: Anastasia Petukhova

For more information on American Contemporary Ballet or American Contemporary Ballet Jazz, check out their Facebook, Instagram and webpage. For information about similar events, check out our Event Calendar.

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