"Complexions" Charms the Room

Meryl Cates | Nov 24, 2008 | 0

Contemporary ballet is not so new wave anymore and has certainly claimed the crown as one of the most popular choreographic styles for new works performed.  By no means, does a liberating fusion of techniques open to artistic exceptions imply that all contemporary works are great.  The line between stimulating and monotonous is a fine one, and Complexions Contemporary Ballet asserts a finesse and unique command.

Their New York season at The Joyce Theater is laden with New York and World premiers.   The choreography of Dwight Rhoden explores and maneuvers movement, all the while, embracing the technique and structure of other dance disciplines, not as a filler, but as its base. The Sunday matinee, (which was "Program A" of three, including the Gala) was a well-rounded selection, whether you're a Complexions enthusiast, or a "newbie".

The 14-year-old company was founded by Alvin Ailey alums Desmond Richardson and Dwight Rhoden, and has become renowned for its fusion of dance techniques, works by various choreographers, and a virtuoso troupe of dancers.

Rhoden's "Routines" recreated the day-to-day life of a dancer in a glamorized representation of the daily grind, a rough sketch from class, to rehearsals, and finally to the performance.  The music was a mosaic of sounds and beats with a constant measured tempo as the dancers moved about, warming up with sudden spurts of dancing.  The manic speed and quality of the movement was busy, but well arranged, mostly remaining exciting and not distracting.

It can be superficially separated into two sections, the classwork/rehearsal and then the performance, but the sheer strength and control of the dancers seemed to be a driving force of the work.

"Constructs For 4" was choreographed by Igal Perry, founder of Peridance Center in New York City, and was a gratifying work with a steady and organic flow.  Set to a combination of Johan Sebastian Bach and complete silence, the transitions in dancing, music change, as well as how the dancers entered and exited the stage were streamline.  After a while, the arm movements (swinging round over the head, or creating sharp angles bent at the elbow) were a touch glaring and seemed to become the propelling force of too many of the steps.  

"I Will Not Be Broken" was another world premiere for Rhoden and was a deeply spiritual experience, reminiscent of the Ailey background of both Rhoden and Desmond Richardson (who performed in the piece with two other dancers from the company).  The spiritual songs and texts performed live by S. Epatha Merkerson will not be performed at every show and I send out my condolences to anyone who will have to experience the recorded version, because her presence and vocal contributions to the piece were invaluable.  

As she moved to different locations on the stage and mingling with the dancers, she lent an intimate dimension, especially to the intensity of Richardson's every movement. He was powerful and entrancing, from the moment the lights came up.

For me, the highlight of the afternoon was the pas de deux "Ave Maria", an excerpt from Rhoden's 1995 full length ballet, "The Grapes of Wrath".  It was a clear display of when everything comes together, when the audience is no longer watching a dance they are experiencing an emotion.

The music by Caccini was an operetic Ave Maria with an electronic musical background, and the lighting was a cross between red and magenta, casting vein-like designs on the stage floor.  Danced by Hiroko Sakakibara and Simon Sliva, there were unique lifts and positions, for Saskakibara in particular, to balance. However, their chemistry transcended the piece. It was forceful, provocative, and tender all at the same time without ever resigning to one emotion, as if authentically human in its complexity.

The final ballet, "Rise" was a tribute to the band U2 with different recordings of the their famous tunes.  Due to injury, only a portion of the 10 songs were performed (about six). The lighting was vibrant with sharp flashing colors, and the dancers looked like they were having a ball, in the moment and having fun.  It was like a party on stage, without looking like a cheezy music video or amateur dance number. It wasn't their strongest in the program, but it was fun and light, like having sorbet after a heavy dinner.

"Complexions" will be at the Joyce Theater through November 30th.

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Ballet, Modern, Teacher, Enthusiast, Parent, Performance, Complexions Contemporary Ballet, The Joyce Theater (all tags)