‘Firebird, Part 2’ takes flight this Juneteenth with radical reimagining

Ellice Patterson, executive and artistic director of Abilities Dance Boston, has been enamored with ballet since she was a child. However, despite her lifelong love of the craft, she noticed a blatant lack of accessible studios where disabled dancers could rehearse and perform. So, she decided to do something about it. In 2017, Patterson founded Abilities Dance Boston, a studio where differently-abled dancers could thrive.

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This Juneteenth weekend, Abilities Dance Boston is bringing a fresh take on Igor Stravinsky’s “The Firebird” to Boston University’s Joan & Edgar Booth Theatre, starring Patterson as the Firebird. This is Abilities Dance Boston’s second rendition of the ballet; “Firebird, Part 2″ is an even more radical reimagining.

The original ballet chronicles the tale of a captured firebird’s struggle to free herself from Ivan, her captor. However, in Ivan’s time of need, the Firebird returns to save him. Running through June 21, “Firebird, Part 2″ begs the question, “What happens when the Firebird stops saving everyone else — and saves herself?”

“I’ve always loved the ‘Firebird’ ballet,” Patterson said. “In thinking of how the show could be expanded upon, I came back to my own life and the feeling of being tapped out and like I need to hold everything and how the shift in choosing oneself first can be really powerful.”

The show’s scheduling is no coincidence. Patterson came up with the idea to align her production with Juneteenth while having a talk with her 96-year-old grandmother about the sometimes-exhausting nature of Black womanhood.

“[My grandmother’s] grandparents were enslaved and, having someone who is still alive who knew our enslaved ancestors, I wanted to highlight them in the show,” Patterson said.

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In the show’s new original score, which was composed by Andrew Choe, Patterson’s grandmother is featured as a singer, her voice portraying the Elder Firebird.

“From the beginning, it’s been important for us to create original music that reflects Ellice’s perspective,” Choe said in a press release. “In Part 1, we set Stravinsky aside to build something entirely new for a reimagined story. With Part 2, we’re going even further — bringing in personal history, multiple musical genres, and a live ensemble to create a sound world that feels as expansive and unexpected as the dancers themselves.”

The show is a multimedia experience that also features original animation by Will Machado, and artwork commissioned by Gateway Arts. It incorporates modern dance and aerial silk work with traditional ballet.

Accessibility is also at the forefront of every aspect of Abilities Dance Boston’s shows. Audio description will be available for blind and low-vision audience members, as well as captions and ASL interpretation for those who are Deaf or hard-of-hearing. There are no strobe lights to accommodate those with photosensitivity, and there are free and sliding-scale tickets available for those who cannot afford the $45 ticket cost. For those who are unable to attend in person, there’s a livestream option of Friday night’s show.

“In this space we want to be able to lower the barrier of entry for everyone so folks can enjoy the show without having to consider finances or if the show is accessible for their body,” Patterson said.

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