DanceAspen Stages 10-Foot Box Premiere at Wheeler Opera House

Aspen —"It's almost like a trio with this box because the dancers are partnering with it."

That’s how Laurel Winton, founder and executive director of DanceAspen, describes the centerpiece of the company’s final summer performance, “Crescendo.” The show runs at 7:30 p.m. on August 27 and 28 at the Wheeler Opera House. It’s a four-work evening that includes a world premiere and features a live band. But the real story isn’t just the choreography; it’s the logistics of putting a 10-by-10-foot structure on a stage in the middle of the Rockies.

The evening opens with the North American premiere of Samantha Lynch’s “A Boléro.” For context, this isn’t a standard dance piece. Two performers interact with, inside, and on top of a massive box. Lighting plays a key role here — dancers vanish as the box darkens, then reappear. Winton called it "thinking outside the box," both literally and figuratively.

Getting that box to Aspen wasn’t cheap or easy. Originally, the Norwegian National Ballet built the set during pandemic shutdowns using government funding. DanceAspen didn’t have that luxury. Instead, they hired a carpenter from Denver to replicate the blueprints. The goal? Ensure the structure was safe for dancers to climb and swing on. "It was definitely challenging to take this design… and replicate the same thing, but to do it in a way that was manageable for us," Winton admitted.

Beyond the box, “Crescendo” marks a career milestone for Matthew Gilmore. A Juilliard graduate, Gilmore is performing his last show as a dancer before transitioning into the role of artistic associate. For the past five years, he’s helped build the company. Now, he’s moving to the other side of the stage.

"He’s been a voice in helping me build this company for the past five years, but I think he’ll really have the time to fully immerse himself on the other side and start to build a vision of where he would like to see the company (go)," Winton said. She noted that while a dancer’s retirement feels like "a huge part that dies," it’s also a new chapter. "It goes from being about yourself to not being about yourself at all."

Gilmore brings strong technique, sensitivity, and musicality to his work. Winton described him as having a "pure element" and a calming presence. "I’m always relaxed when he’s on stage. I never get nervous watching Matthew out there," she said.

In practice, this transition means the company is shifting from a performer-centric model to one that emphasizes collaboration and artistic direction. On paper, it’s a smooth handoff. In reality, it’s a test of whether the artistic vision can survive the loss of a key performer.

The practical bottom line for locals? If you want to see a world premiere and a major career transition in one night, you’ve got two chances. The Wheeler Opera House is the venue. The box is 10 feet wide. The carpenter is from Denver. The music is live. And the dancer who used to be the star is now the architect. That’s the deal.